James Todd Smith is one of the most influential people in hip-hop, when he hit the scene in 1985 he bought something new and something different to hip-hop. L(adies) L(ove) Cool J or now it could be L(iving) L(egend) Cool J is one of the earliest rappers to achieve commercial success, which has grown to a really solid acting career.  But along the way putting out 13 albums, with that distinctive voice with some great tough lyrics, but also becoming the master of the hip-hop slow jam tracks about the ladies.  How many rappers tried (and in many cases failed) to do those slow jams? I’ll be honest, I was never a huge fan of LL, but I’d put him up there with the other greats of hip-hop; KRS-One, Big Daddy Kane, Rakim, Kool Moe D were all my favorites, but no denying LL is a legend and one of the greatest of all time.  Maybe it was the fact that he hit that commercial level with his music that I wasn’t into him as much as some of those others.  My boy growing up; Mike from the boogie down Bronx, aka Money Mike, aka Maker, aka Herbie Love, LOVED LL, and was always playing his music.  So, I heard LL the time.  To this day when I hear “Go Cut Creator Go” I think about Herbie Love. When I heard he was coming out with a new album, his 14th studio album, I thought why, what does he need to prove.  He’s one of GOAT’s. But I guess the question should be, WHY NOT? Hip-hop today lacks something, no it lacks a lot. So, if LL Cool J can bring something good to hip-hop, he should do it. It doesn’t matter how long he’s been doing this, and some could say he’s past his heyday in hip-hop, but his impact on hip-hop is enormous and undeniable, and is still felt today.

When I first listen to an album, especially if I am going to review it, I don’t look at any information, who produced it, collaborations, nothing. I like to go in fresh with a clean slate. So, when I started listening to The Force I was thinking this is LL Cool J rhyming over A Tribe Called Quest beats. Sure enough, we have LL’s lyrics over Q-Tip’s production to bring us a nice mash-up of styles and a pleasant surprise.  They started working on this project in 2020, so this has taken time to create and complete, and it is worth the wait. This is unfiltered hip-hop. The album starts off with “Spirit of Cyrus” which brings an unexpected opener, not in a bad way, and portrays a black vigilante, with their gun pointed at the crooked cops that are always targeting the black communities. LL is fierce and vicious right out the start! This song features Snoop Dogg, I only wish Snoop would have had a verse in this joint. One of Q-Tips strongest productions is on the title track “The FORCE.” Love this beat! The jazzy abstract beats laid out with LL’s flow makes this a hit. “Saturday Night Special” featuring Rick Ross & Fat Joe comes to us next, this is a dope groove with the Q-Tip production and LL kills it with his flow and lyrics. Rick Ross and Fat Joe both do their thing, but compared to LL’s flow, just kind of fall flat. Cool J and Gambian singer Sonia Jobarteh bring us “Black Code Suite” where LL reflects on his life and really defines his blackness. The message is great, the song falls a little flat with both the production and lyrical flow. I love Sonia’s voice and would have like to hear more.

“Passion” is next up, another one of those tracks that takes us back to the glory days, it is a jazzy concoction with the hallmarks of that classic Tribe groove while LL flows over top of the beat.  LL takes us back to those great love songs he’s known for adding Saweetie to “Proclivities.” There is something about the way LL shares his fantasies in his songs, not dirty and raw like so many hip-hop artists do, he makes it sound almost classy! It’s the way he hits us with the storytelling to get his point across. Saweetie sounds so good and is a perfect fit in this joint, the chemistry between them is on point. This brings us to a great song, “Post Modern.” The music is great with blazing electric guitars over a tough, strong beat with LL giving us some ferocious rhymes telling us about his time starting out and his drive to achieve; “My intuition is speakin', I'm tweakin', I can't ignore it/I'm on a mission of beatin' the odds, feed me some more/Got a vision, I'm raisin' the bar up to the Lord/Sowin' and reapin', so pockets are never leakin'. “30 Decembers” gives us a nice classic beat over that Tribe background sound, LL giving us a song about his self-worth, his struggles and growing confidence. One of the better lyrical songs on the album. “Runnit Back” comes on and you think it’s a Tribe or Q-Tip tune, but LL comes in with a slap in the face, BAM it’s me…..flowing straight through talking about his past accomplishments and carrying through his mission to destroy his opposition. “Yo, yo, you gettin' money, you really don't need to talk about it/Move quiet, you should try it, there's some clout around it/Chasin' hoes and overthinkin' the process/Outside of the gates spewin' the nonsense.”

“Huey In The Chair” featuring Busta Rhymes is next, and while not loving this one, both LL and Busta do flex in this one and give us some powerful moments. They bring the energy which helps get this song through.  We get taken back in time with the production in “Basquiat Energy” and those amazing LL bars we have always been used to. “Roll some smoke and throw on Kid Creole/We in it to bring in the dough, not control hoes/In life, you gotta dance to your own rhythm/Nothin' fuckin' wit ya mans, got a bold vision/Devils in the system actin' like they have religion/When the bullets get to whizzing, where is all the moralism?” Nas joins LL on “Praise Him,” for another great song. Love seeing Nas join him on this joint, two legends going head-to-head, two legends that have been doing it for years and are still on top of their game and on top of the hip-hop world. Such a great flow from LL. “Murdergram Deux” featuring Eminem comes in with that Slim Shady beat feel.  I have the utmost respect for Em, never really got into his music and style, but he can rap with the best of them.  I think he falls a little short in this though, kind of blah with is flow, kinda like been there done that. And I think that carried over to LL’s flow. The album is finished off with “The Vow” featuring Mad Squablz, J-S.A.N.D. & Don Pablito. We are taken back to a more old school beat and flow, and some of L’s best lyrics and flow on the album. I love the production in this one, but it’s LL’s flow that makes this one of the top tracks, and a perfect way to finish off this project. The young MC’s do a nice job, and I love LL bringing them onto this song, but it is Uncle L that truly delivers.

I’ve been a hip-hop fan for most of my life, been listening since the mid-80’s, and while most of today’s hip-hop doesn’t do it for me, when a legend can come back and hit us with a dope, lyrically strong album it keeps that love of hip-hop alive in me. It’s not great, but it’s powerful, and LL Cool J is still a master rapper, he did say that he had to re-learn how to rhyme while making this album. I think what he is saying is, he didn’t want to just bring us the old school LL, he wanted to keep those strong lyrics and flows, but he needed to step up his game and hit us with some powerful lyrics and rhymes.  And he succeeded! Q-Tip plays an important role as well, bringing a new and fresh style to LL, bringing us some great beats and grooves.  It all comes together, for the most part, and works well.  He brings dynamic tracks that just works with LL's style, flow and delivery. THE FORCE is not flawless, but it is incredibly good and in todays hip-hop…..great. The 56-year-old flexes, brings strong lyrics, gives us some of that old school Uncle L, but also brings us a nice growth and new style. Don’t call it a comeback, he’s been here for years…..and still bringing it!

One Love – Todd Judd

Busta Rhymes first hit the hip-hop scene in 1990 with his group, Leaders of the New School, and their debut album, A Future Without A Past… but what probably put him on the map was his verse on the 1991 A Tribe Called Quest’s song, “Scenario”

“Watch; as I combine all the juice from the mind
Heel up, wheel up, bring it back, come, rewind
Powerful impact (BOOM!) from the cannon!
Not braggin', tryna read my mind, just imagine
Vo-cab-u-lary's necessary, when diggin' into my library
Oh, my gosh! Oh, my gosh!
Eatin' Ital Stew like the one Peter Tosh
Unh! Unh! Unh! All over the track, man
Unh, pardon me, unh! As I come back!”

“As I did it, yo, I had to beg your pardon
When I travel through the town, I roll with the squadron
RAWR! RAWR! Like a dungeon dragon
Change your little drawers 'cause your pants are saggin'
Try to step to this, I will twist you in a turban
And have you smellin' rank like some old, stale urine.”

This is what made me and so many others a Busta fan.  His style was something new, something raw, something in your face. Since 1991 Busta has put out 13 studio albums, either with Leaders of the New School, Flippmode Squad or his solo work, along with countless collaborations through the years. His last album was in 2020, so it was time for him to hit us with something new. And something new is what we got.  He brought in legendary producers Swizz Beatz, Timbaland and Pharrell to work on his latest, Blockbusta.  So the thought was, he’s going to hit us with some old sounding Busta and a heavy influence from the producers.  While you may get a hint of each producer, at times you find it hard to figure out who was producing what track.  Is that good or bad, I am not sure, but this was not an overall typical performance from Busta either. I feel this was more a modicum of modern styles and beats that did not give a cohesive flow throughout the album. He has a ton of guests with him and he hits on many different styles; Afrobeats, Dancehall, Reggae and Trap. In some ways this works so well, but this also leads to the in-cohesiveness of the album. The first track, “The Statement” is a perfect start to the album, makes you think you are getting that typical Busta, setting the tone where he delivers a two minute long verse letting you know about his imprint on the game.

“How many times do I gotta remind you niggas that I'm one of the greatest?
And I will just rewrite the pages of every history book while they askin' me
Save us from all of this other bullshit that they be listenin' to while you just amaze us.”

“Remind ‘Em” featuring Quavo is one of the tracks that works with a weird sense of tension between their two different styles on the mic. “Beach Ball” featuring Bia has a bouncy beat and some catchy rhymes, but kind of falls short. He takes us to “OK” with Cool & Dre and featuring Young Thug.  A nice beat and the back and forth between Busta and Young Thug make this song work, but it does feel a little out of place at times. I really like the sample of Miguel featuring J. Cole’s “All I Want Is You,” in “Could It Be You” featuring Blxst and Yung Bleu. I like this groove but we could use more Busta in this song.  There are songs throughout this album where it feels like Busta is the featured artist and not the main artist. Busta follows it up with another strong sample, a song that would have worked years ago and works today, “Luxury Life” featuring Coi Leray. I love the way they flow back and forth, takes me back to some old Busta work. The song samples The Whole Darn Family classic “Seven Minutes of Funk,” best known for being sampled on Jay-Z and Foxy Brown’s “Ain’t No N****.” Another collaboration that works well on this album is “Big Everything” featuring DaBaby and T-Pain. We get some of that fast, strong lyrical flow from Busta. I do wish we had a little more T-Pain in this joint. Busta pushes himself with the Afrobeats “Roboshotta” featuring Burna Boy.  A nice strong beat, Busta does a nice job in this with the style and lyrics, but Burna Boy outshines. “Tings” is not a great lyrical song, but is a rhythmic and energetic song that shows Busta’s ability to try new genres with this uplifting joint.

Mid-way through the album Busta hits us with “The Return Of Mansa Musa” featuring Swizz Beatz and Ghanaian singer Blackway, the two compliment each other in this song that samples the 1972 “Soul Makossa” by Manu Dibango. Next up is “Stand Up” featuring Jnr Choi. This samples Coolio’s “Gangsta’s Paridise,” and while I like the subtle sample in the background, I don’t care for the flow from either Busta or Jnr Choi is this track, it almost feels too forced by both of them. Chris Brown and Shenseea join Busta on “Open Wide.” This R&B/Reggae groove is one of my favorite songs on the album, but not because of Busta.  I think he fails to hit us with his strong lyrical presence in this song.  Chris Brown and Shenseea sound wonderful and the flow between them make this song. “Hold Up” takes me back to some old Busta lyrics and flow, but not enjoying the music producing in this track. It feels forced with no real thought to it. “The Hive” featuring Giggs is up next and to me really falls short.  This UK drill just doesn’t flow with good lyrics or presentation.  The beat is lackluster as well.  Kodak Black joins Busta on “Homage,” another flat composition, to a point where it feels the album could have ended with “Open Wide.”

We come back with “Legend” featuring Morray, a nice chill beat with this, but another song where it seems Busta takes the backseat.  This song is really about Morray. Morray with a nice fast flow throughout. “Slide” feels like a segment of a song instead of an all-out full track.  Busta rides the beat and unexpected jazz piano riff with ease.  This song is solid but could have been strung out longer. Busta has three of his six kids join him on “Legacy,” Cacie (Cie), Trillian and Mariah (Rai). This has a nice old school beat and rhythm where they all flow effortlessly through the music. I wouldn’t mind hearing more from them on this album. The album is finished off with “If You Don’t Know Now You Know Pt. 2 featuring Big Tigger. A good solid tune to finish off this album, Busta and Big Tigger with some nice lyrics taking us back in time.

While this is not a masterpiece, we do get some good tracks, some nice lyrics and some strong collaborations, there is the element of inconsistency, indecisiveness and even a strange bizarre element, but I feel most of these tracks are more solid as stand alone single instead of part of an album.  There are times his Live-wire energy shines through, at other times it feels like he’s trying too hard to fit into today’s hip-hop style.  And that is not Busta. This is a mixed bag, there is a lot to like throughout this project, but there is a lot of wanting more or something changed up and some confusion.  This is worth a listen, it’s worth more than one listen, there is something for everyone in these 19 tracks.

One Love

Todd

Press Release Below:

LA Natives G Perico & Rucci returned to Los Angeles on 5/27/2023 as they wind down their 2023 Hot Shot Tour. With only two dates left to go including this one, anticipation was high for the homecoming of these two LA hip hop kings.  The Hot Shot Tour featured 24 dates spanning from Brooklyn, NY down out west to San Diego, CA. The Los Angeles show at The Fonda Theatre served as the second last show on the cross-country tour. I’ve had the pleasure of shooting Rucci last year when he shared the stage with Fenix Flexin, and I couldn’t pass on the opportunity to see both G Perico and Rucci in one show. Let’s hop into it.

Opening the night was Kevin Parx, King TWI, and Chief Major. Each of these artists and their teams rocked the stage straight through the night till it was time for Rucci and G Perico. I always say – opening a rap show is one of the hardest shows to open. The crowd needs to have some sort of familiarity with your music to be able to sing along, and if they can’t, you’re tasked with the job of bridging the gap, armed with only a microphone and determination. All three acts bridged the gap. Fans vibed with them, picked up catchy hooks along the way, and sang along. After Chief Major, Rucci burst on stage and the crowd erupted. Sure, the closer of the night may have been G Perico, but Rucci proved that he was carrying his own weight and then some. The Inglewood rapper brought a few homies out on stage as performance an eclectic set of hard-hitting bangers, melodic bangers, and introspective moments.

Last but certainly not least was G Perico. G Perico brought his signature West Coast hip-hop style, incorporating elements of old school gangsta rap and G-funk. He played a lot of bangers off the Hot Shot: Gangsta Grillz project with DJ Drama. Some of my personal highlights were when he played “Action”, “German Engineering”, and “Rap Life”. Front to back, G Perico shined through his energic performances and authenticity in his raps. A little over halfway through his set, Rucci made a big return and the two heavy hitters closed out the show together.

All in all, the Hot Shot 2023 Tour featuring Rucci & G Perico was a hit. Both artists absolutely killed it and left the fans eagerly wanting more. There’s only one more show on this tour but both artists got a lot more in the tank for later down the road. G Perico has been praised for his authentic and gritty storytelling, and this show was no exception. Check out G Perico when he’s in a city near you. You won’t regret it. Innerprize Clicc!

The night started off with the doors opening at 9 with a DJ spinning old skool hip hop tracks.  This was some of the best DJing I’ve heard in a long time, great songs, great mixing and great cutting and scratching.  He was followed by two other DJs, equally as good.  DOPE! They were all amazing and the crowd was so into it, rapping along to each song and dancing….so much dancing.  I especially enjoyed the third DJ because he was from the Caribbean and played some old and new reggae/dancehall joints.  I was one of the few in the crowd that knew everything he was spinning, but I didn’t care!  Like the previous night with KRS-One, this crowd of 45-60 year olds started getting tired by the time midnight rolled around.  The dancing slowed, the crowd getting a little antsy, wondering when Doug E Fresh and Slick Rick would hit the stage.  As the clock hit 12:30 am we were all ready, so ready for them.  Three DJs came out and started to get ready, yes they had three DJs up on stage with them.  Around 12:40 Doug E Fresh (aka Human Beat Box, The Worlds Greatest Entertainer) comes running out on stage and the crowd went crazy!  “Let’s have some fun tonight” he yelled.  He started with “Keep Risin’ To The Top,” what a great way to start the night.  Crowd dancing along with Doug.  He then went into “I-Ight (Alright)" going back and forth with the crowd;

AiiiiiiiiiiiiiiiiiiiiYO! I-IGHT?!
AiiiiiiiiiiiiiiiiiiiiYO! I-IGHT?!
AiiiiiiiiiiiiiiiiiiiiYO! I-IGHT?!
AiiiiiiiiiiiiiiiiiiiiYO! I-IGHT?!

The crowd was feeding into what Doug E was giving us and everyone was loving it.  His dancing was so sweet and picking up as he went into each song.  As he went into “Let Me Clear My Throat” the crowd started jumping with Doug E Fresh and singing right along.  "Everybody jump, jump, jump, jump, Jump, jump, jump, Everybody jump, jump, jump, jump, Jump, jump, jump!"

Now if y'all want to party like we do

If y'all want to party like us, lemme hear ya say

Ah ah ah ah ah  (crowd)

If y'all want to party like we do

If y'all want to party like us lemme hear ya say

Ah ah ah ah ah ah ah ah (crowd)

Now when I say uh, you say ah

Uh (crowd) Uh (crowd)

And now when I say hey, you say ha

Hey (crowd) hey (crowd)

Now when I say uh, you say ah

Uh (crowd) Uh (crowd)

Now when I say hey you say ha

Hey (crowd)

Now when I say freeze you just freeze one time

When I say freeze y'all stop on a dime

When I say freeze you just freeze one time

When I say freeze y'all stop on a dime

Freeze

The DJs flowed into “Teach Me How To Dougie” and Doug says, “This record “Teach Me How To Dougie,” if you have not known this yet, and you’ve been living someplace else in the world, I got to tell you….I AM DOUGIE, I made this dance up a long time ago, so what your kids are doing….I made that up a long time ago, so right now, for your looking pleasure, I gonna give you….you, the blueprint of the Dougie!”  And he showed us all how to Dougie!  He then took us back in time to “Da Butt” and “Candy.”  He had everyone get out their phones (I think everyone already had them out) to turn their lights on for his next hit, “Shine A Light On Em.”  And then the song I think the entire crowd came to hear came on…Slick Rick (The Ruler, MC Ricky D, Rick the Ruler) walked on stage with Doug E Fresh and we knew it was going to be amazing.  I saw Slick Rick last summer without Doug and while it was so nice hearing the Show, it was missing the two together.  They work so good together, the flow is perfect and the night just got so much better.  “Hey Slick, where’s the party at? Is the party over here?  Is the party over here? Is the party over here? Say Hoooo…….somebody, anybody, SCREAM!” Up until this point we didn’t get much of Doug E Fresh’s beat boxing, but he completely killed it during “The Show.”  The crowd was so hyped listening to them together.  They brought out Lil Vicious to perform the 1994 hit “Freaks,” and he sounded so good, Doug E Fresh beat boxing the entire song, this was one that got the crowd dancing.  Then Slick Rick stepped back up for another song we were all waiting to hear….”La Di Da Di” no music just Doug E Fresh with the beat box and Slick with his flow.  I can’t explain how sweet it was to hear the two of them doing their thang on stage.  The crowd rapping right along with Slick Rick.  He then went into “Hey Young World” as the crowd was all bobbin’ their heads.  Slick then took it up a notch with “Mona Lisa”

Well, it was one of those days, not much to do
I was chillin' downtown, with my old school crew
I went into a store, to buy a slice of pizza
And bumped into a girl, her name was Mona, what?
Mona Lisa, Mona Lisa, so men made you (what?)

And what did we all want to hear from The Ruler?  He flows into “Children’s Story,” the crowd rapping right along with Ricky D….

There lived a lil' boy (Rick) who was misled (crowd)
By anotha lil' boy (Rick) and this is what he said (crowd)
"Me and Ty, we gonna (Rick) make sum cash (crowd)
Robbin' old folks (Rick) and makin' the dash" (crowd)

He finished up the song with a nice little dance which made the crowd go nuts!  Slick was done for the night as he strolled off the stage, but not before stopping at the end of the stage to sign an autograph for someone in the crowd.  The night was finished off with a truly amazing beat box by Doug E Fresh.  It must have gone on for a minute and a half and I have never heard anything like it.  He held his hand up while beat boxing and counted to five with his fingers and then counted down, and back up, and back down for the entire time he was beat boxing.  I have been to a lot of concerts through the years and that might be the most amazing thing I have ever heard live.  We’ve all heard his beat box on his songs, we’ve heard video clips of him, but to hear it in person was simple crazy.  And he was dancing like he was still 20 years old all night long. I cannot understand how he gets all those sounds, beats and noises to not only come out of him, but work so well.  My wife and I, four days later, are still talking about it. We understand why Slick Rick is The Ruler and Doug E Fresh was dubbed The Worlds Greatest Entertainer by Chuck D while touring together.

-One Love, Todd

In anticipation of the release of his new project, Geezyworld 2, OhGeesy has been hitting the internet with a slew of singles to maintain the high level of buzz around his name. It was just a few weeks ago where I got the opportunity to cover his appearance at The Vermont in Hollywood, CA. That day, OhGeesy dropped the visual for “Gallery”. That visual has now crossed the million-view mark on Youtube alone, not even counting the streams/across all other platforms. On 12/12/2022, OhGeesy hit the fans with another visual, this time for his brand new single “1^st Day of School”

Over yet another Ron Ron (also formerly of Shoreline Mafia) produced beat, OhGeesy throws together another solid hook reminiscing about the good feeling of the first day back in school. With an R-rated twist, OhGeesy’s got girls twerking in the classroom, lean in his cup, homies rolling up weed on their notebooks, and a strap in his bookbag. The video cuts between the classroom and a yellow school bus where OhGeesy and company can be found partying like a bunch of high schoolers up to no good.  

Shout out to Kuno for directing and Saadmoon for editing. They really captured a mischievous nostalgic vibe with this one. It’s great OhGeesy has these guys on his team to help compliment his edgy party music with equally rugged visuals. These guys continue to kill it on OhGeesy’s projects. Peep this video and stay tuned for Geezyworld 2.

- Kris Kuganathan

On the heels of the Geezyworld Tour, OhGeesy has been back in the lab whippin’ up new music to follow up his solo album, Geezyworld. The debut album exceeded expectations and solidified OhGeesy’s presence in the game as a one-man act. He’s been up to big things: releasing his debut album to critical acclaim, selling out shows across the country as a soloist, and pumping out high-profile collaborations with the likes of YG, DaBaby, Central Cee, and A Boogie Wit Da Hoodie. He’s accomplished so much in just a couple of years, and it was time to celebrate on 11/25/2022. Being his birthday weekend, OhGeesy decided to do it big. He dropped the song and accompanying visual for “Gallery” exclusively on YouTube at 12 PM and followed it up that night with his official birthday party hosted at The Vermont in Hollywood, California to celebrate.

Warming up the crowd on the ones and twos was DJ Vision (who also supported the Geezyworld Tour). Playing trap banger after trap banger, DJ Vision kept the party people going. Unlike many other clubs, The Vermont felt more like a traditional concert venue with a big stage up front. As the crowd grew larger, you could feel the energy in the crowd increase. Sporadic mosh pits would break out and waves of energy would ripple through the crowd. Donned in all white from his hat to his shoes, OhGeesy commanded the room with a bottle of 1942 in one hand and the mic in the other. Weaving in and out of DJ Vision’s set, OhGeesy played a few of his Shoreline Mafia classics like "Nun Major", "Musty", and "Change Ya Life". Fueled by the alcohol, the event transitioned from a club appearance to a full-blown concert. I was a little apprehensive seeing OhGeesy in this format, but he didn’t disappoint anyone who showed up to see him rap. It’s not every day you get to see an artist in their element celebrating with their friends and then rap/perform for love of it as well. There was a different fun kind of energy in the air that’s not found at more traditional concerts. It looked like everyone was having fun, including OhGeesy.

OhGeesy didn’t technically have to perform that night, but he did because he knew everyone in the building wanted to see him rap. It was special. He gave us a flashback of the Geezyworld Tour and a glimpse into the future at the highly anticipated Red Cup Tour with YG in early 2023. There are few people who put on for Los Angeles like OhGeesy, and he must be protected at all costs. Grab your tickets see him on The Red Cup Tour with YG; happy birthday, OhGeesy.

As someone who grew up on underground hip hop, UndergroundHipHopBlog.com has always held a special place in my heart. Throughout my college days, I frequented the website in search of underground hip hop that was too raw for the radio waves. Rejecting the cotton-candy poppy style of auto-tuned hip hop that dominated the early 2010s, I scrolled into online wormholes to dig up thought-provoking, politically-charged, socially-aware counterculture hip hop. Through this site, I was introduced to a wide array of music ranging from La Coka Nostra to Blue Scholars. The website was a one stop shop that showcased the golden age of hip hop with an emphasis on lyricism. I was more than stoked when I heard that UndergroundHipHopBlog.com was celebrating their 10-year anniversary at Catch One in Los Angeles with Immortal Technique as the headliner. There’s no artist out there that embodies the spirit of underground hip hop more than Immortal Technique. I knew this one was one I had to catch. Let’s hop into the event.

First off, I need to tip my hat to the venue Catch One. The seemingly endlessly modular venue is no stranger to hosting UndergroundHipHopBlog.com’s events. I had the opportunity to cover their Night Of The Living Dead event at this venue back in 2019. Click HERE for a link to that review featuring Necro and Madchild. One reason I really like this venue is the stage setting is a bit lower to the ground in contrast to other venues with the same capacity This lowered stage works well for this style of gritty music pulling the action closer to the crowd.

Up first, DJ Survive handled the ones and twos all night. Opening the night, he played records that took me way back. Dropping gems from the likes of Non Phixion and Jedi Mind Tricks, UGHHBlog’s resident DJ warmed up the room as fans piled in. Shout out to Pawz One and CThree who hosted the main stage all night in between sets and even gave us a few songs of their own. The small stage in “The Lounge” was active for a good part of the night featuring acts like NVY JONEZ LKR, Indigenous Cat, Organized Krime, AG Cora, Tony Da Kidd, and Gruesome Twosome. The main stage in “The Disco Room” was graced by DJ Survive, Zero Of El Vuh, XP The Marxman, Vel Nine, and finally Immortal Technique. Of all the openers, Vel Nine was the standout performer of the night. The California native shined as she delivered deft bars over sinister boom bap beats. Headlining the night was the one and only Immortal Technique. Assisted by Swave Sevah and others from back home, the Harlem rapper played songs off his Revolutionary Vol. 1 and Revolutionary Vol. 2 like “Harlem Streets” and “Point Of No Return”. He also hit us with a few a cappella verses displaying his verbal prowess. I’ve seen Immortal Technique three times over the years and it’s a fair assessment to say he’s only getting better with time.

Shout out UndergroundHipHopBlog.com for pulling this one off. It’s been 10 years in the game and this team is still on the forefront of showcasing that true raw hip hop. I’ll admit, over the years, my personal taste of music has strayed away from the purities of conscious underground hip hop but UndergroundHipHopBlog.com has always held it down. Shout out to them on 10 years and I wish them another awesome 10 years. Peep them at www.undergroundhiphopblog.com

From the streets of Surrey to the trending section on Youtube, Merkules has always brought an authentic style of lyrical hip hop over carefully chosen melodic beats.  Beat selection has always been an integral portion of Merkules’ music.  If you’ve paid any attention to the internet wave of hip hop, you’ve definitely heard at least one of Merkules’ covers. He’s racked up hundreds of millions of views on Youtube with his own renditions of famous hits such as "Old Town Road", "Shape Of You", and "Plug Walk".  He brings that same ability to his original content, broadcasting a vision every time he raps over a new beat.

On November 1st, Merkules is set to drop his new full-length album, Special Occasion. With features from the likes of Jelly Roll, Rittz, Tech N9ne, Hopsin, Paul Wall, and Young Buck, you knew Merkules would have to bring his A game on this album.  Bring it, he did.  He dives into all facets of a hip-hop album.  He’s got jams for the streets.  Jams for the ladies.  And jams for you when you’re in the car alone.  Let’s jump into a few of these tracks.

It’s no surprise “Bass” is one of the lead singles off the album.  Assisted by Tech N9ne and Hopsin, the trio drops a no-bullshit lyrical assault on this track.  It’s reminiscent of the song “Let’s Go” off of Travis Barker’s Give The Drummer Some featuring Yelawolf, Twista, Busta Rhymes, and Lil' John.  While the three rappers weren’t technically battling each other, you couldn’t help but imagine that the pressure was on when writing for this.  There’s no way you can get that much talent in a recording booth and not have a level of competition.  You could hear it throughout the song as each rapper delivers verses at the top of their individual games.  The speed and complexity of the rhymes offered by all three on this one is unmatched.

On the flip side, Merkules is often vulnerable and shows a sensitive side on this album.  For instance, he slows it down on his self-reflective track called “Trust Issues” and also explores deep parts of his romantic life on “In My Heart”. Most rappers who are lyrically technical tend to stay in their own lane and evolve around their strengths.  Merkules isn’t afraid to explore emotional topics.  He’s willing to tackle personal struggles openly in his music, which is basically a public forum.  It takes confidence to pull this off.

The final track is probably my favorite one.  On a chilling dirty south beat, Merkules teams up with Young Buck to drop “Time Go By”.  Both rappers chronicle their lives acquiring currency as time passes them by.  It’s a subtle note, but I also thought it was interesting that both rappers did work into their verses how it was important to them to stay out of jail.  I guess that would be the worst place to see time go by.

Merkules did well with Special Occasion.  It was thoughtfully crafted and flowed well from beginning to end.  He delivered introspective tales of his life in a smart and witty fashion.  His beat selection was also primo.  Most of the songs have trailing beats after the lyrics that allow the music itself to sink in.  This album brings a palatable brand of hip hop that is respected by both the streets and the industry.  This album has something for your homies, for your girl, and for you – so go pick up a copy this weekend when it drops.

As always, rock on my friends!     Hunnypot Approved!     Overall Rating:  8.7 out of 10

Artist:  Merkules LP: Special Occasion,   Release Date: Nov 1st, 2019, Label:  RBC/BMG

"All in all, Kill The Motherboard stylistically stands in a class of their own. They’re not for everyone, but with meaningful lyrics and rhythmic production, they offer a breath of fresh air in a scene that’s been plagued with repetition, simplicity, and at times, a lack of creativity.  The Legend of Picasso Jones will definitely be added to my playlist and am sure you’ll do the same once you take it for a spin!"

Coming from a traditional hip hop background, I didn’t know what to expect when I went to listen to The Legend of Picasso Jones. Admittedly, I had never heard of Kill The Motherboard. I was vaguely familiar with Jack Splash’s work with Kendrick Lamar and Cee-Lo Green, but still had no idea what I was in for in reviewing their debut album.

After a super-cool blues intro, I was immediately introduced to the world of Kill The Motherboard with Jack Splash’s sober but carefully laced production, "Saint Paul”. The vocalist, Jon Brown, lays down a teaser of an anthem which warns that The Legend of Picasso Jones was going to be a soulful journey into the elements of funk and hip hop. The song picks up steam towards the end but quickly loses its flame as it ends at just over 2 minutes. This left me a tad bit disappointed as it was a killer track and was really hoping for more.

Next up was a song that I found myself coming back to again and again, “The Water”.  This jam starts in an aggressive fashion with a gritty and persistent electro bassline which immediately fills the void left from “Saint Paul.” Jon Brown jumps in with powerful and melodic vocals that really bring this song to life for the listener. Once I heard the incredibly catchy hook, I realized these guys might actually be onto something. Eric Biddines also makes his first appearance on the album and assists with his complex conscious flows that take an ever-evolving production from Jack Splash to a whole new level. It is no surprise that these two chose to drop this track as one of the debut singles to their full-length project.

Another high point on the album is “Mr. Nobody & His Nefarious Friends.” This song is a super-funky jam containing what seems to be Kill The Motherboard’s signature style – an upbeat rhythm, carefully placed multi-layered production, and a style bending uplifting form of hip hop. Reminiscent of Kid Cudi’s “Cudi Zone”, Kill The Motherboard continues to push the boundaries or rap with their unconventional style on this song and others throughout the album.

While Jack Splash tends to alley-oop Jon Brown throughout the majority of the album, he seems to outshine his partner on the closing track, “Castles.” Jon Brown holds his own but Jack Splash displays that there’s truly multiple levels to being a producer. Polished with psychedelic tunes and twinkles, the methodical production displayed on the track was top notch and one of my favorites on the album.  "Castles" seemed to be the perfect track to bring The Legend of Picasso Jones to a close and showcased why the dynamic-duo of Jack Splash and Jon Brown are going to be a force to be reckoned with in the not-so-distant future.   Wanna decide for yourself?  Click HERE to listen to The Legend of Picasso Jones - you'll be glad you did!

As always, rock on my friends!     Hunnypot Approved!     Overall Rating:  8.5 out of 10

Artist:  Kill The MotherBoard,  Album: The Legend of Picasso Jones,   Release Date: June 14th, 2019,  Label:  Easyleague Entertainment - Empire