2015: A Year In Review

It's that time again. We reach the end of a year, and it's the period where everybody discusses on website forums, WhatsApp group chats or together, about what that year has done. Whether it was good or bad. Many either choose a certain topic to focus on from that year, maybe "20__ in music" or "in film". But since this blog focuses on music, mainly hip-hop & R&B, you should know what I'm focusing on.

When we ended 2014, everyone was ranting about how mediocre it was. Although we saw G-Unit finally reunite after a long period, people only named a few highlight projects of it, such as Isaiah Rashad's Cilvia Demo, Freddie Gibbs & Madlib's Piñata, Mick Jenkins' The Water[s], the collaboration with Royce Da 5'9" & DJ Premier aka PRhyme, and J. Cole's classic album, 2014 Forest Hills Drive. Hip-hop fans could only name 4-6 highlights, unlike other years, where they could've think of more than 5 (mostly 10 good albums). Not only that, last year was the beginning of the social media era, where annoying songs came and went, such as the incarcerated Bobby Shmurda's "Hot Nigga" and OG Maco's "U Guessed It!", and trust me, it was annoying as hell. Not many legends were dropping. Where was Nas? Would Lupe finally drop an album? What about Dr. Dre? And I've been waiting too damn long for Jeremih to release a freaking album!

So when Rae Sremmurd announced their album, we were all hyped cos we needed something to bang in the whip, and vibe to. But, fans started to get happy that 2015 would be the opposite of what last year was, when Lupe Fiasco finally was gonna release Tetsuo & Youth, along with Joey Bada$$ dropping his debut album, B4.DA.$$. Hip-hop heads got both these albums on the same day (January 20), and they started a debate about which was better, and what they liked about it. It went to February, and surprise, surprise, Drake dropped a "mixtape" out of nowhere (you should know why I put quotations marks on the word, mixtape) called If You're Reading This It's Too Late, and damn, was we fed with some good music on that day (February 13). A fortnight later, Big Sean followed up his period of showing off his lyricism more with a third album, Dark Sky Paradise, with positive reviews that were happy that Sean improved his sound on this one, instead of coming with mediocre and cringeworthy bars.
By March, we saw the year was getting better. Kendrick Lamar tweeted a link to an album with hardly any details, apart from it saying "untitled" with his name on it, and the planned release date of March 23. That would later become the critically-acclaimed To Pimp A Butterfly, which was pushed forward to March 15. A week after, Earl Sweatshirt would release IDLSIDGO, along with Action Bronson's Mr. Wonderful. And Ludacris & Wale released their highly-anticipated albums, Ludaversal & The Album About Nothing. April saw releases like the (also) highly-anticipated Pilot Talk III from Curren$y. Cherry Bomb and Barter 6.

We were getting more quality albums along the way. In May, Snoop Dogg released his funky collab with Pharrell called Bush and A$AP Rocky released his sophomore, At.Long.Last.A$AP. And even if J Dilla & Baatin are gone, and Elzhi left, Slum Village still continued the legacy as a duo (T3 & Young RJ), and released YES! in June and Meek Mill released the highly-anticipated Dreams Worth More Than Money. Future was having one hell of a year, dropping projects non-stop like Beast Mode, 56 Nights and DS2. And the fact that Dr. Dre released a freaking album after scrapping Detox, surprised me, and it was worth it! Even Jay Rock did, The Game released the sequel to his classic album, and at the end of the year, Jeremih dropped, along with Logic, Freddie Gibbs, Pusha T and Fabolous!

With the quality music being dropped, what about the general shit? Well, remember when I said 2014 was the beginning of the annoying social media era. Last year saw the annoying songs and the recycled Vines trending, and everybody forcing it down till another trend came. The same thing happened this year, and it was worse! I just watched this year's YouTube Rewind not long ago, and it was SOOOOOOOO bad! Seriously, the title, "Watch Me 2015" just makes me cringe, and the trends used on there was so corny, especially watching people Whip & Nae-Nae (where was the Dab? Billy Bounce? There was more better trends than this). It was a video that showed how shit this year was other than in music.

I noticed more than that though: Fanbases are freaking CRAZY!!! And everyone gets emotional these days. We should all know about the Drake & Meek Mill beef that happened earlier this Summer. Drake won and all, and the way Meek responded to all this was just... *sighs* (especially after everyone was loving DWMTM, and that he couldn't back up his ghostwriting argument), but the annoying part were the Drake stans. They pretty much proved how bad they are as a fanbase (even worse than the Beyhive, God damn). They were going ham on Meek, spamming him with anything that related to Drake (battery and diamond emojis and I know when Views for The 6 is about to drop, they're also about to spam him with praying hands or something). I mean, they were overrating Drake, calling him the GOAT in rap. and saying "don't come at the 6 God ever" (as if there are not any better rappers in this generation). What was even worse was that recently, he's in some serious issues that may lead him to jail, and all because of some stupid ass beef, they want him to spend time in prison (I even saw a guy comment that he hopes he get raped. I'm freaking speechless). Damn, they really didn't like it when Meek accused him of not writing his own shit.
I felt that more people started to get very VERY emotional on social media! Like, so what if a guy talks shit about your favourite rapper, does it give you the right to go and just react like a little kid? Black Twitter, along with Instagram, have started the trend #WhitePeopleWednesday, that took a light jab at white people and the funny stuff that they do on camera. Some whites ran along with it, laughed and continued that trend, while some just started crying like a bitch, and taking it as racist. Like, the amount of flags people with many followers' posts got just because they were laughing at it.

Overall, 2015 has been a good year. Apart from some BS, such as school thoughts and the social media issues, everything has gone well. We had some quality music, and not to mention, some amazing films. I was going out and about every now and then, watching Avengers; Age of Ultron, Fast & Furious 7, Pitch Perfect 2, the long-awaited Star Wars: The Force Awakens and of course, Straight Outta Compton. 2015 has made me very happy, and the amount of albums I had to catch up with was too damn high. Hence why I'm counting down my top 20 favourite albums of the year. However, I ain't reviewing them cos it's gonna be too much work. So here it is:

20. Future - Dirty Sprite 2 (6/10)
19. Drake & Future - What A Time To Be Alive (6.5/10)
18. Mick Jenkins - Wave[s] (7/10)
17. Travi$ Scott - Rodeo (7/10)
16. Fabolous - Summertime Shootout (7.5/10)
15. Kehlani - You Should Be Here (7.5/10)
14. Rapper Big Pooh & Nottz - Home Sweet Home (8/10)
13. A$AP Rocky - At.Long.Last.A$AP (8/10)
12. Bryson Tiller - T R A P S O U L (8.5/10)

11. Drake - If You're Reading This It's Too Late (8.5/10)

10. Big Sean - Dark Sky Paradise (8.5/10)
9. Dr. Dre - Compton (9/10)
8. Logic - The Incredible True Story (9/10)
7. Joey Bada$$ - B4.DA.$$ (9/10)
6. Jeremih - Late Nights: The Album (9.5/10)
5. Big K.R.I.T. - It's Better This Way (9.5/10)

4. Mac Miller - GO:OD AM (9.5/10)

3. Pusha T - King Push: Darkest Before Dawn (The Prelude) [10/10]
2. Lupe Fiasco - Tetsuo & Youth (10/10)
1. KENDRICK LAMAR - TO PIMP A BUTTERFLY (10/10!)

Honourable Mentions:
Game - The Documentary 2
Jay Rock - 90059
Freddie Gibbs - Shadow of a Doubt
Curren$y - Pilot Talk III + Canal Street Confidential
Rick Ross - Black Dollar + Black Market
Lloyd Banks - Halloween Havoc 2
Young Thug - Barter 6

So there you have it. My top 20 albums of the year + my honourable mentions. I gotta say, 2015 really gave us a lot. From Lupe Fiasco to Pusha T, it wasn't just a year of shitty music from aspiring SoundCloud artists. We had quality music, even from the people that we normally hate. Chief Keef delivered, Mac did, Kendrick did, Drake did, and everybody did. This was my top 20 favourite projects, and sorry if you're upset that one of the honourable mentions didn't make it onto the list (keep in mind that YOU can make your own if you want to). It was very hard choosing the top 20, and I went through a lot of changes just to make this great and nice for myself.

Anyway, will 2016 be a drought? We may have had a lot, but we're even speculating that next year will be EVEN better. Lupe Fiasco is dropping 3 albums in 2016, Drake's VFT6 is gonna be out anytime. Mick Jenkins is finna drop The Healing Component. Pusha is gonna drop the highly-anticipated King Push. And of course: Lloyd Banks. The Cold Corner 3 is due out anytime soon, as since it didn't drop this year, we're expecting a 2016 release.

Due to this post, there won't be any New Year's Review tomorrow. I worked real hard on this, and messed up my priorities. Be sure to look out for a review on Rapsody on January 16. In the meantime, may you have a great year this coming 2016.

Adios...

Owen

Big K.R.I.T. - Return of 4Eva

Released: March 28, 2011

It's been a long time since I've touched a project from K.R.I.T., I mean, I'm a little late on listening to his discography, although I've listened to both Cadillactica & his new project, It's Better This Way, yet I still enjoy his music and respect him as one of the best new school artists. But, it's about time that I continue where I left off with K.R.I.T. Wuz Here [back in February], and go on to his next project, Return of 4Eva.

R4 was released after being on the 2011 XXL Freshman list, among the likes of Kendrick Lamar, Meek Mill, Diggy Simmons & Mac Miller, and was a follow-up to the critically-acclaimed K.R.I.T. Wuz Here. Like the previous tape, it was self-produced, and features a little more major and legendary features from Big SANT, Chamillionaire, David Banner, Ludacris & Bun B, Joi and Raheem DeVaughn. The mixtape was promoted with videos for "The Vent", the remix of "Country Shit" with Ludacris & Bun B, "R4 (Theme Song)" and tour vlogs.

The mixtape, like K.R.I.T Wuz Here, was also critically-acclaimed, with HipHopDX calling it "emotive, conceptual music" and a Slant Magazine editor saying it was "the rap album to beat in 2011". R4 was also named 32nd best album of 2011 by Rolling Stone, 27th by Spin, and a honourable mention by Pitchfork. It would later be re-released as a retail EP, with a remix of the K.R.I.T. Wuz Here standout, "Moon & Stars" with Curren$y & Killa Kyleon. Many see this as one of his best work, among his later work, such as 4EvaNaDay and Cadillactica.

Anyway, let's get this started...

1. R4 (Intro)
The mixtape starts with a chill and relaxed opening, which see Krizzle rap a little verse over live instrumentation, with the drums, trumpets and bass. It was a good introduction and all, but as you listen to this mixtape, you're not gonna hear this more than once.

2. Rise and Shine
A good positive song which you can easily wake up to, depending on your music taste in hip-hop. Krizzle provides two great verses that keep a positive and light feeling, with some dope scratches during the hook and the end. The beat is pretty good and hits a little hard. Overall, it's just a funky track to get your day started.

3. R4 (Theme Song)
I remember playing this randomly in my tuition class. This song hit me hard, and I wanted to show my happy face when hearing this and just wild out to it. But, I ain't embarrassing myself in front of younger (and older) people. Anyway, this song BANGS!!!!!! This that shit you can bump in the whip and just ride out to. The production is hard-hitting like a mother... and the sample-chopping was way on point with this one. Krizzle's verses on this song were great, and that flow was amazing. It's relaxing, and as I wrote this, I was fully vibing to this shit. One of my favourites on this tape.

4. Dreamin'
K.R.I.T. reminisces about his days before becoming a rapper, and how that has got him to where he is now. The beat is relaxing, and the song creates a positive vibe and gives some motivation to the listeners, to push themselves to what they want to do. I really liked this song. The concept was interesting and very inspiring, and the sample fitted the concept, especially when the vocals of the original fittingly went with the hook. Great song!

5. Rotation
This that music for the whip. Get yourself a whip, play this song out loud on your day off, and act like you don't give a shit at all. Shake your head to it, and just vibe. The verses are alright, the beat BANGS!!! And K.R.I.T really impressed me on this one.

6. My Sub
The first out of a 3-part series (or maybe not, God knows, there may be more parts to come), which is another banger on the mixtape. It once again sees K.R.I.T. just make a song about him feeling good, and riding out. The beat SLAPS, and his verses and flow is intact on this one. The melody is great, and the vibe is too much on this one, overall making a catchy ass banger!

7. Sookie Now (feat. David Banner)
AWWWWWWWWWWWW!!!!!!!!!!! This shit BANGS HARD AS FAWW.... Excuse my French. This song is amazing. I was fully dancing to this when this randomly played on my iPad, cos of how great this song was. The hook is catchy, and gives a better vibe than the 2 previous bangers, considering that this is both from 2 Southern rappers (from Mississippi). I can imagine Krizzle performing this live, and if I was to see him do it, I would get gassed. Krizzle did well with his verses, but damn, David Banner killed it. His flow was on point, and gave a really good turn-up feel to it, while at the same time, giving some meaningful lyricism (talking about all the black Mississippians that have passed away). This song is just... SENSATIONAL (*Future voice*)!

8. American Rapstar
A serious and smooth joint, which focuses on dealing with hardships & struggles of being a rapper in America, considering that you can easily make hits in this generation. The sample gives a sombre and sad feeling, as Krizzle thinks about how he won't change for the money, and also worrying that he may get shot or killed like Pac & Biggie. It's a joint that is still relatable today,

9. Highs & Lows
I heard this, while going out with my friends on Halloween (this year, Halloween fell on a weekend, me and my friends did not go trick-n-treating), but I never really payed attention to it till now, and only focused on the beat. But, unlike his other sombre and deep cuts, Krizzle provides a beat that smoothly bangs, as he talks about how life can have its ups and downs, hence "Highs & Lows". The hook is very soulful, and has a nostalgic feel to it, especially when the bridge kicks in near the end. I freaking love this song! One of KRIT's best songs.

10. Shake It (feat. Joi)
Singer Joi comes on this funky ass song, which you can bang both in your whip and the club. It's a song which easily makes you feel good, and hearing Joi on the hook with Krizzle was really nice. The verses on here were fire, and God damn, that beat! I just think it feels short, and if Krizzle added an extra verse after the bridge, it would've been just fine.

11. Made A Lot (feat. Big SANT)
This standout sees both Krizzle & SANT voice their views on how people comparing them to their "former selves", thinking that they've changed. Krizzle's flow on this was pretty good, and he started off great with the verse. SANT was actually good on this, but it's when they share a verse together is where they both kill it, especially Krit. The beat was amazing on this one, and it really carries the two very well on this. Another standout!!!

12. Lions & Lambs
Another sombre and deep song, which sees him thinking about life in a sorrow way, especially when his voice is a little quieter and cheerless. His 2 verses were alright, but he really killed it on his third verse, especially when the drums are reversed. The sombre piano is on point and is really fitting with the song, and it's just a song where you can just listen to it with no distractions.

13. Kings Blues
This one sees Krizzle reminisce about his struggles & hardships, with an Erykah Badu sample on the hook. The scratches on this got me hooked on to this song, and his flow really got on with it as well. I just wished that Krizzle would've had more verses on here cos it feels too short. I still love it tho!

14. Time Machine (feat. Chamillionaire)
Chamillionaire isn't known as a rapper anymore. He's been making a lot of great music, but even to this day, he'll be forever known as the guy who made "Ridin'". So it was surprising seeing Krizzle hook up with Cham, considering if he even knows what he's capable of. On this highlight here, we see Krizzle reminisce about the lessons in his youth, while riding in his whip. This one's a freaking banger, and I'm really impressed with the verses on this song. It's one that you can bump your head to, but at the same time, kinda relate to his words. Cham's verse on this was pretty good, which sees him voice his opinion on some shit, before shouting out UGK (RIP Pimp C). The instrumental on this was amazing, and the concept here was really interesting.

15. Get Right
A song that you can vibe to. It has that West Coast feel, while also bringing that Southern flavour to it. It reminds me of the previous "Gumpshun" on K.R.I.T. Wuz Here, but this one BANGS HARD! And is better than that song. I can have a great time with this, and the verses just get you to feel positive and just ease your mind. BAAAANNNGER!!!!!

16. Amtrak
A love song (that smoothly bangs), which is named after the train service. that sees Krizzle wanting a woman to come back & spend the night and... you know. I can't say much about this other than the fact that it's smooth as hell, it's a funky ass banger, and that I freaking love it!!!

17. Players Ballad (feat. Raheem DeVaughn)
A feel-good song that heavily has references to the classic OutKast song, "Player's Ball", with Raheem DeVaughn on the hook. The song has deep and smooth production from Krizzle himself, and if you're looking for a song that can easily pick up women, this is the one for you. Krizzle's verses are on point, and his flow is more impressive and refreshing. One of my favourites on this tape. Play on, Playa!

18. Another Naive Individual Glorifying Greed & Encouraging Racism
With the title being the full name of the acronym, "Another N.I.G.G.E.R", over a sombre and sad instrumental, Krizzle makes a very personal song about how he doesn't want to be a "nigger", and his 3 verses expand on what he doesn't want to become. While the 2 verses really explained this very well, the third verse really got to me, as he describes someone who has now become famous, but has forgot where he came from. It's one of Krizzle's best verses which really hit my heart, and interested me with the concept. The song was really interesting. The beat didn't fail to impress me and the fact that he really expressed his opinions of "being another nigga". One of KRIT's best songs!

19. Free My Soul
On this track, KRIT takes time out to criticize the entertainment and music industry, how sometimes having riches isn't always enough for your soul to be free, and overlook very good artists. It's another sombre song that is relatable to this generation, and I actually mess with it. It's not really something I'd play over and over again though.

20. The Vent
Arguably Krizzle's best song ever made, Point Blank, PERIOD! Here, being a personal lament to his late grandmother, over a beat that kinda reminds me of the ambient Noah "40" Shebib production, he speaks about his struggles, such as his brother dying, a beautiful women overlooking him because she wanted a thug, and how this generation is like nowadays. The bridge/outro however, looks at things a different way as if he's directly speaking to the grandmother (as she has passed away), along with his fans, Yeah, his singing isn't good, but it's very bearable for this song right here, considering how personal this song is. The content on here was amazing, and I really liked how Krizzle took this. A great conclusion, and the best song on the album.

The following is a bonus track:

21. Country Shit (Remix) [feat. Ludacris & Bun B]
Southern legends Ludacris & Bun B jump on the remix of the standout off Krizzle's previous mixtape, K.R.I.T. Wuz Here, and they do not fail to make it better than the original. As a matter of fact, I played this one before I heard the original. Over the same instrumental (because why mess it up with a completely new beat?), Luda starts off like it's nothing, with a verse that had me rocking my head a lot. Krizzle comes with a new verse, which was honestly better than the rest (considering that the guests on the remix normally do better). Bun B comes through with a verse that really pays a good homage to the Southern shit. His flow was better than the rest, and was my favourite verse on here. Everything about this remix was good, and really impressed me more than the original. Get a sub and bang this out while you go to work.

Return of 4Eva sees Krizzle at his very finest. It's such a great follow-up to K.R.I.T. Wuz Here, and sees him mastering his sound and knowing where he is now. Krizz knows how to make his content have a balance, whether it's club bangers, shit you can bump in the whip or some deep cuts, and that makes R4 very entertaining.
First off, we see Krizzle improve his lyrics here, and his verses start to easily get to you. His 3rd verse on "Another N.I.G.G.E.R" (because I can't be arsed to type down the full name) is amazing, and gives a better insight on the song's concept. And "Made A Lot" sees him share a verse with Sant at the end, with Krizz having impressive bars here & there. Also, the verses on "Dreamin'" sees Krizzle at a soft and emotional state of mind, thinking about his career and his success.

The production is on point, not to mention. We see very deep and relaxing production on "Highs & Lows", and slapping drums on "Get Right". The bass is too much on "Amtrak", and an ambient beat, reminiscent of 40, is provided on "The Vent". While we've seen that Krizzle can lead a mixtape on his own, the features were very necessary, and added a touch to it. Raheem DeVaughn's hook gives a chill vibe on "Players Ballad"; David Banner's verse gives a feelgood vibe, while also spitting some knowledge & history on "Sookie Now", and Chamillionaire was fire on the banger "Time Machine". Big Sant also came through on the standout, "Made A Lot", and last, but not least, Luda & Bun! God damn, did they kill on the "Country Shit" remix.

Return of 4Eva, overall, is arguably Krizzle's best work, and you can see why from this. His style has mastered, and it's an entertaining mood-changer, and while you wouldn't like your mood being changed, you'd still love it! If you're looking for bangers to bump in the whip, this is for you. if you're looking for relaxing shit, this is for you. If you're looking for lyrical and personal cuts, this is for you. R4 gives you everything you need, and is a prime example of why Krizzle is a top 5 new school artist. It's just sad how underrated he is.

Recommended Tracks
The Vent
Sookie Now
R4 (Theme Song)
Country Shit (Remix)
Dreamin'
Amtrak
Highs & Lows
Another Naive Individual Glorifying Greed & Encouraging Racism
Made A Lot
Time Machine
Players Ballad
My Sub
Everything on here is recommendable!

Slum Village - Trinity (Past, Present and Future)

Released: August 13, 2002

From the six month span between my Fantastic, Vol. 2 review and this one, Slum Village has been one of my favourite groups to listen to. There's never been a day I haven't played a song from them. And it's been a while since I've focused on them, and now it feels so damn good to review another one of their albums.

SV released their long-awaited debut, Fantastic, Vol. 2, in 2000, featuring some of their most popular songs, whether it was "Fall In Love" or "Players". The album was critically-acclaimed, getting some mainstream and underground recognition, with J Dilla starting to get a lot of shine while T3 & Baatin were praised for their rhymes (although some felt their lyrical content wasn't that good). In early 2001, Dilla released his solo album, Welcome 2 Detroit, which was supposed to be a showcase of Detroit artists like Phat Kat, Frank-N-Dank, Dwele and more. A few months later, Dilla thought it would be a good idea to leave the group to pursue what would be a very successful career.

Instead of becoming a duo after Dilla's departure. T3 & Baatin decided to try and replace him with another third member. After some time of searching, they found a young boy called Jason Powers aka Elzhi. After failing to release his EP, Out of Focus in 1998, El secured a feature on J Dilla's Welcome 2 Detroit on the standout, "Come Get It", gaining little recognition for his contribution. T3 & Baatin were quick to get him, and started working on their album. While the group quietly released their promo compilation, Dirty District, in June, in anticipation for the album; it was when the album's first single, "Tainted" with Dwele, was released, with many fans being shocked about Elzhi being the replacement. Fans were wondering that now that Dilla was gone and replaced by El, they weren't gonna maintain the vibe that made Slum Village what they were in the first place. They were trying to see what Elzhi would bring to the group, and what he's capable of. A week after the single release, Trinity (Past, Present and Future). finally dropped, and those questions were answered.

Trinity was their sophomore album, released mid-August 2002, already being led by the single "Tainted". It was the first time their line-up had changed, and Elzhi was officially the replacement for Dilla. When "Tainted" came out, fans were shocked about El, as they thought with the wonderful production of Dilla, no one could replace him! In fact, for the album, according to T3, it was hard to find the production team, as they found a young Black Milk, Hi-Tek, Waajeed, Karriem Riggins and Scott Storch (oh, and yes, J Dilla provided 3 beats and T3 managed to get on the boards too), which saw a major change in their sound. Not only was that the change for the album, SV signed a new deal with Capitol, still keeping their independence with Barak, and would only release 2 albums with the new deal, becoming independent in 2005.

Although "Tainted" had a lot of success and acclaim, the album actually had a lot of criticism. T3 & Elzhi would later address this in the song "Def Do Us" off their self-titled album in 2005, saying that T3 & Baatin had probably the worst criticism ever with the album, but however, the critics actually liked El. The reaction from fans wasn't any better as they were split between those who welcomed El into the group and those who didn't like him, and felt that Dilla shouldn't have been replaced. As time went by though, El did manage to impress those fans with projects like Witness My Growth, The Preface, and Elmatic (aka Elzhi's remake of the classic Nas album Illmatic), still remaining to be a really underrated rapper in the game. Later on, after the release of this album, however, Baatin would leave, due to health problems, and also suffering from mental illnesses, leaving T3 & Elzhi to continue as a duo, releasing two albums (one in 2004, and another the following year), while 'Tin did his own thing. After receiving a termination letter from 3 & El, getting diagnoses and working as a solo artist, he would later officially reunite with the group in 2008 (although there was a reunion song back in '07, with Black Milk called "Action", but since 'Tin was credited as a solo artist, it was probably an unofficial reunion), but unfortunately, would pass away the following year (RIP).

Honestly, I took a little step backwards. I listened to their next album, Detroit Deli (A Taste of Detroit) before this, but this album has started to have the most replay value out of the two (hell, even Fantastic, Vol 2). But, let's get into it! No rhetorical questions needed, let's go!!!!!!

1. Intro 1
This intro was... great actually. This was just a little something from a choir that would be the melody for a later track on this album.

2. Intro 2
I always wondered why it was even necessary for two freakin' intros. Unless the intro is a necessary set-up to the album, or an actual opening track where the artist sings or raps, one intro is enough. But one should not simply ever have 2 freaking intros. However, "Intro 1" surprisingly is such a great lead up into the real thing, and it's at this point where you realize this ain't no Fantastic, Vol. 3, or a follow-up with Dilla all over it. On this banging beat from Waajeed, T3, Baatin & Elzhi play no games, sharing verses together. Elzhi manages to actually impress me more, although the other two started off very well. The instrumental shows the change in their sound, with a hardcore flow and more instrumentation. I've never been happy to hear such an intro track since the Stakes is High one!

3. Insane
Waajeed provides another instrumental, which is kinda mediocre, compared to the banging beat of the "Intro 2". 'Tin & El both do their thing, with T3 nowhere to be seen. Once again, El comes with another fire verse, and it's easy for him to impress the listener on this one. The overall track gives a dark feeling, especially at the end with the weird and disturbing voices around it. But yeah, on to the next one!

4. What Is This
Haha, it's funny cos that title was my reaction when I first heard it. But damn, is this song smooth! I remember first hearing it in its fullest while in Spain, and I freaking loved it. It's a very funky song, and a young Black Milk produces this, with help from T3 & Young RJ. Anyway, 3, Elzhi & Baatin are all present and they all come with short but snappy ass verses. T3 manages to show me why I even liked him out of everyone in the first place, with a hard verse which sounds too amazing, compared to the other 2 (I'm not discrediting them, their ones just sounded softer than 3's), and it's surprising that Black helped with this song, considering that his later beats would be way better than this and more hard-hitting. Nevertheless, it's a little standout that gets me hyped when listening to the album!

5. Tainted (feat. Dwele)
The first single, which not only properly introduced Elzhi as the replaced third member of Slum Village, but actually introduced Dwele too as a singer (he had some singing features as an underground singer, and was on Welcome 2 Detroit as a bassist). Here, SV talks about tainted love and relationships, and succeed to impress, while an instrumental from Karriem Riggins is provided. T3 starts off with him speaking to a girl about the love they share, with 'Tin changing the song's focus into how there's also tainted love when it comes to the music industry and El bringing it back to the relationship topic. Honestly, I don't know who had the best verse between Baatin & Elzhi. I mean, 'Tin's verse gives me chills, especially when it still relates today. And El's was amazing, but it's like you can tell this was probably the group's first song recorded with El cos he doesn't have as much time as the other two, and was likely to have a very quick verse for many to just see how he's like. Another highlight was the contribution from Dwele; his ad-libs were on point, and his singing at the end was great. This song remains such a standout on the album, and it's a pretty laidback one!

6. La La
The short musical interlude at the end of "Tainted" leads to another standout which is way better than the previous. With DJ Dez "on the Cutz", Waajeed once again provides a fire beat, which is probably one of my favourite beats on the album. T3, Baatin & Elzhi all kill their verses, but it was 'Tin's that impressed me most. He went harder than the others, and just how hardcore and amazing he sounded on this song made me speechless. It's a song that I can play all over and over again! One of my favourites on the album.

7. All-Ta-Ment
T3 gets on the boards to complete the production team for the album, and provides the surprisingly fire beat for once again, another standout! Baatin changes his flow into a deeper and grouchier flow that kinda reminded me of Busta Rhymes, when I first heard it. T3 still keeps his hardcore flow, having the best verse on the album. Elzhi also comes and does a decent verse, but once again, it's a quick one, which leads back to 'Tin, who gives an extra verse. I always liked this song. It's a standout on the album where everyone kills it!

8. Disco
The second single, which, as the title suggests, takes a funky disco approach. Like the previous, T3 produces this one, and along with Elzhi, both spit some killer verses, with Baatin being absent. 3 started off good, but Elzhi really impressed me with his verse, using the Fantastic, Vol. 2 tracklist just to make such a wonderful rap. This would later be remixed by the one and only Timbaland, making a more upbeat and modern beat that would make it easy to get radio airplay. It would come with a guest verse from Timbo's former protege Ms. Jade (where she at nowadays tho?! She was actually hot) and additional vocals from his other protege Raje Shwari. I actually listened to the remix before the album version, but we can all agree that this version washes the remix out the way (although it was actually good). Such a good track!

9. Trinity (Interlude)
On this little song that helps lead into the next one, Baatin, Elzhi & T3 dedicated their verses to each other; El to Baatin, considering that he was the old soul in the group (excluding Dilla), with 3 dedicating his verse to El, and also telling the audience how the group started from when Dilla was in the group to where they was at the time El replaced him. Baatin continues and thanks 3 & El for being part of the group. Black Milk provides another instrumental, which is honestly mediocre, but kinda sounds alright. The interlude's nothing special though.

10. One
The 2-key piano loop at the end of the Trinity interlude leads to this standout, which finally has J Dilla on the boards, like everybody wanted, creating what I'd call one of their most grimiest songs they've ever made. Dilla departs from his funky and laidback sound, and makes a gangsta/hardcore beat for Elzhi, 3 & 'Tin to rhyme over. T3 starts off good, with such a gritty flow that makes everything very interesting. El actually has the second best verse on here, even though he sounds soft, compared to 3 & Baatin. 3 spits another short verse as the beat switches, before handing it over to Baatin, who sounds very furious, saying stuff like "one of these days, I'ma show you what I'm made of/soon as I'm done with these silly little rap scrubs" [that lyric already sounded like 'Tin was already planning on leaving the group anyway! Interesting...] or "I rule a planet of my own where you don't exist". Honestly, I've never heard 'Tin like that before. He was probably in his own planet where he recorded this, cos this sounded freakin' amazing! 1nce again, another one of my favourites!

11. Hoes
J Dilla provides another instrumental, which is more chill and smooth than the previous. Here, with Elzhi being absent, T3 & Baatin reminisce about their girls being hoes. 3 starts off with a soft flow, which explains what he saw his girl doing. Baatin continues by expanding the point, and making the vibe more interesting. But it all gets real, when like "One", the beat switches into something hardcore and a little gritty, where 3 says not only women are hoes, but men are too, but in a more "fake friend" way, such as "selling you a gun when they never even used one" or "trying to have whatever you got". Luckily, Dilla calms us down before the beat takes us too far by having a calm and peaceful instrumental interlude. This is another song which I absolutely like. It's freakin' Dilla, what do you expect? His production on this song was on point, the melody, the good singing during the hook, and of course, the standout verse from T3. This was a substantial song!

12. Star (Interlude)
Just a little skit...

13. Star (feat. Dwele)
Dwele returns for hook duties on ANOTHER favourite (the amount of tracks on here is like a mixtape, so don't be surprised), so does Waajeed for an experimental-like beat. The beat is funky, and remembering hearing it while in Gibraltar makes this song feel better than what it actually is. Everybody does their thing, especially Baatin & Elzhi. It's when the beat slows down is where Tin gets jiggy with it, smoothing everything down, with a verse which is once again out of this world. Probably my #1 favourite on here.

14. Slumber
Hi-Tek also contributes to this album, with a song which shows everyone at their finest. I mean, they came in hard. 'Tin started off great, but Elzhi & T3 both murked this song. It's even better when the beat switches at the end into a electronic vibing instrumental!

15. Let's
The final beat Dilla provides on here, which is fantastic. Only thing was that I never cared for it until a few weeks ago, and damn, is this one hell of a track!!! Dilla uses his electronic influences, and creates a funky and banging beat, which is probably my second favourite Dilla beat on here, and everyone kills it. T3 & Elzhi really REALLY impressed me on this track, and their flows were way on point. The electronic vibe was suiting, and the group came in harder than ever. Another favourite on the album.

16. S.O.U.L.
A smooth song for y'all to rock "forth & back", word to the original song. This is just a song for everyone to get down to, with a concept of getting with a girl. All 3 do well on this, and it's just a song that I can vibe to, and I love it!

17. 80s (Skit)
Meh...

18. Unisex (Interlude)
T3 gets his own solo shot, and uses it to make a short gritty song, with a fire beat that he apparently made (like most critics have said, it does apparently sound like a Neptunes beat, to be honest). His flow is on point with this song, and while it could've been a full song, I still like it, especially when the bridge was where the melody finally was let out. This was great.

19. Love U Hate
Half of this song sees Baatin singing for a while. Yes, I said it, freaking singing; which leaves T3 & Elzhi to go back and forth with killer verses while Ess provides a banging beat. With how the production is like, and how this track was put together, this could've easily been the next single before or after "Disco". It could've been likely to have a remix, and easily would've got radio airplay. Sensational!

20. Get Live
Scott Storch contributes a beat for this song, which I first thought Timbo produced, until I checked the credits. This is just decent, the group gives a very interesting vibe, with a live performance feel, considering the skit at the end of the previous song. And the beat is actually not bad. But yeah, that's all there is to say!

21. Harmony
The song is freaking AMAZING!!!!! We continue where the album left off 20 songs earlier, when the choir sang a melody to introduce the project. And that melody would be used for this standout right here. With a beat provided by Karriem Riggins, 'Tin, T3 & El all come with hardcore verses, and they do not disappoint at all. Baatin started off really well, and sang a very good hook. T3's flow was on point, but Elzhi was amazing, and he came in like it was nothing. And that beat banged out hard! REALLY HARD! Another one of my favourites.

22. Who Are We (Interlude)
It's always the interludes with the fire beats that interest me into saying that they should've been longer. This is a prime example. T3 just chants out a little something to conclude the album, but I wished 3 could've at least let the beat ride out for some time as an instrumental interlude, because I can't really imagine the whole group on it. Once again, according to Wikipedia, 3 even produced this, and it's such a good beat that I was expecting someone else on the boards. This was a great conclusion.

The following is a bonus track:

23. Fall In Love (feat. Sammiyah)
A (still-) unknown singer called Sammiyah does a more mellow and R&B cover of the hardcore "Fall In Love" remix (which was the b-side of the "Raise It Up" single, back in 2000), and it honestly impresses me. It shows she can sing, but like some of these people I always hear about, she didn't push her sound forward enough for her to get signed, cos if she was, this could've been the perfect song to be a debut single. Maybe she could've get a remix from SV themselves or another rapper/group that was popping around that time. But damn, was this good!

Who the hell said SV wouldn't do well without Dilla? That's just some bullshit! Trinity is an album that departs from the soft, spacey and mellow sound that was Fantastic, Vol. 2, and goes to a more hardcore sound that gets straight to the point. It's good that the group switched their style up, it was around the same time Dilla switched up his production, so they were going a similar way. This is an album where you can see the change in them, and how they can still make good music without only 1 producer. The group doesn't use any guest appearances (apart from Dwele), and they still play it off. Not to mention, the album flows extremely well. The way it goes from one track to the next is just... sensational (*Future voice*) that it even feels like a mixtape, with the amount of tracks on here. The production is amazing. T3 actually shows off his production skills on the standouts "All-Ta-Ment" and "Disco"; J Dilla provides the beats for the standouts "One" and "Hoes". And Waajeed is such a star producer, creating experimental-like beats such as "Star" and "Insane". Baatin was amazing on here, and started to sound more furious and angry in his rhymes. Also, it was interesting to hear that even when the album was recorded, he wanted to leave this group anyway and do his own thing. T3 switches his flow from sometimes-blurry (but still amazing) on Vol. 2 to a more louder and hardcore style in his rhymes, which makes him have a lot of best verses here at times. As a matter of fact, he's the one with the best flow out of the 3 (it used to be Dilla, but.. you already know). And why would I forget Elzhi? He was amazing on here, and I was feeling him a lot on here. He would get better with his mixtapes, but this was where he started and he really impressed me on here, especially on "Harmony", "Let's" and "Slumber". Purchase this album! Obviously, Vol. 2 is better and is an instant classic, but Trinity never got the recognition it deserves, mainly cos everybody was like "Where's Dilla". In fact, looking at it now, it kinda makes me happy that he even left. Think about it: maybe if Dilla stayed and SV didn't add El, then Dilla probably wouldn't have pushed his sound forward that much, and would be simply known as "that producer that raps in Slum Village". El wouldn't have got his big break as expected, which would've been likely to cause him not really being  in some people's top 5 and have such a loyal fanbase. Trinity is simply an album that wasn't appreciated as much until now. Yeah, it may not be a Fantastic, Vol. 3 or an album with Dilla, or else it'd have very high expectations, considering the classic that Vol. 2 is. It's just a very good album with a lot of replay value.

Recommended Tracks
Star
Hoes
Let's
Harmony
All-Ta-Ment
One
La La
Slumber
Love U Hate
S.O.U.L.
Disco
Tainted

Mobb Deep - Hell On Earth

Released: November 19, 1996

Damn, has it been a year since I've reviewed The Infamous? That was my first review, and ever since, I haven't even managed to get to their next album. I've been avoiding a few artists throughout this blog, and at times, even when I review one of their projects, I often forget to continue my write up on their discography. Mobb Deep is one of them. A year and 2 months ago, I reviewed their second album, The Infamous, with no intentions of starting with Juvenile Hell. Now it's to a point where I'm desperate. Their work is so good that it's hard to stay away from it. So after a year of me not caring much for the Mobb, it's all back in action today!

After their success of what was The Infamous, Mobb Deep started to get critical acclaim for their work. Their hard work started to pay off, and many were already seeing The Infamous as such a groundbreaking album that it earned them a lot. Prodigy started to get the most credit, as he appeared on the posse cut remix of "I Shot Ya" with LL Cool J and a bunch of legends, while Havoc was recognized for his production and had some beats to spare. But during the 1995 Source Awards, things started going down, with Bad Boy & Death Row going at it, and at the same time, had 2Pac & The Notorious B.I.G. at it too, adding more spark to what was previously a minor East vs. West Coast feud. With the classic songs like "Who Shot Ya" and "Hit 'Em Up", it caused fans from both scenes to start taking sides. 2Pac then also started to beef with Mobb, causing them to release the diss "Drop A Gem On 'Em", months before his death. After his death, however on September 13, after heavy airplay of the diss, Mobb Deep took it from the radio to pay respects to Pac & his family, and would later release their first official single for their next album "Hell On Earth (Front Lines)" in October, leading to their long-awaited follow-up, Hell On Earth in November.

Hell On Earth, their second album released on the label Loud, was released in November 1996, and was preceded by the promo single "Still Shinin'", the Pac diss, "Drop a Gem on 'Em", and the title track. Released while the East/West Coast rivalry was still going on (until Biggie died), the album sees Mobb with a little darker side of them, with Havoc experimenting on a different production type, using more classic soul and piano samples. The album gathers features from Nas, Raekwon, Method Man and the Mobb's frequent collaborator Big Noyd. Due to the fact that it was recorded during the East/West feud, many saw the darker songs to be the subliminals to Pac and other West Coast MCs, but however, Prodigy manages to shout out Snoop Dogg, Tha Dogg Pound & Xzibit in the liner notes (and even Pac on "Still Shinin'").

HOE was met with positive reviews, and can be seen as the duo's best work either in front or behind The Infamous. It debuted at #6 on the Billboard 200, in its first week, and in April 1997, it was actually certified Gold. Not only that, this album was one that showed both Prodigy & Havoc at their prime, lyrically killing it together. This is probably my second favourite album from the Mobb, and honestly it's been long since I have fully touched this album. So things might change, and at an older age now (I was 11/12 when I first listened, I am now 14 turning 15 in a few months), will I find this better than The Infamous, or will it remain the same behind Infamous? It's time to find out!

1. Animal Instinct (feat. Twin Gambino & Ty Nitty)
At this point here, you realize that this ain't no Infamous. With this opening track, Havoc just has to say "Yo, yo, y'know how we did on The Infamous album, right? Aight, we gonna do it again son", and along with Prodigy, and their weed-carriers Twin Gambino (RIP Scarface, by the way) and Ty Nitty, just proves why this album is so damn GOOOOOOOOODDDD!!!!!!

2. Drop A Gem On 'Em
Even with the fact they dissed Pac with this song and got it off the airwaves after he died, they still managed to put it on the album 2 months later with a no-F***s-given attitude. Even if P got his facts about the shooting wrong, it still remains a good diss track. It remains an underrated gem, when talking about diss tracks. Yeah, everyone brings up "Who Shot Ya?", "Hit Em Up", "Takeover" and "Ether", but always leaves Mobb Deep in the dust as if they don't exist, especially when talking about the East vs West Coast rivalry. 19 years later, it still rings to a New Yorker's ears, but it's still sad that it's underrated as hell.

3. Bloodsport
Hardcore lyrics from Havoc & Prodigy over a freaking gritty beat. I mean, what else is there to say? It's East Coast rap at its finest!

4. Extortion (feat. Method Man)
Method Man is the next guest on this standout, and absolutely murders this track, While both Prodigy & Havoc had good verses, Meth's verse is a prime example to why Wu-Tang Clan ain't nothin' to mess with. He was quick to bite on this one!

5. More Trife Life
Havoc's solo is a sequel to The Infamous standout "Trife Life", which, like the first one, follows the paranoia of meeting up with an ex-friend and getting banged up by a rival gang. With a more darker instrumental, which makes the track even more entertaining, it's nice to see Hav tell a very interesting and dark story with this track. Even to this day, I still don't know if it's better than the first. But goddamn, this is amazing, showing off Hav's storytelling skills.

6. Man Down (feat. Big Noyd)
I didn't care as much for this song, but with affiliate Big Noyd on here (aka the unofficial 3rd member of Mobb Deep), who previously got shine from his verse on "Give Up The Goods (Just Step)", it's a song that I kinda regret sleeping on. Prodigy starts off with a killer verse, having some fire bars [We're blasting, you're collapsing heavily like my gold MAC-10, get imprisoned with them raps they have you relapsing]. Havoc's verse is decent, and it's like he can't really keep up with the instrumental until he concludes with his verse. But Noyd comes with a freaking fire verse that outshines both P & Hav. This song is fantastic! Mobb Deep & Noyd both kill this, and it's a very impressive song. One of my favourites on the album.

7. Can't Get Enough Of It (feat. General G aka Illa Ghee)
General G aka Illa Ghee is the next guest on this song, which, like "Man Down", I didn't care for. But if I'm being honest, it's a decent song. Hav starts off good, and Ghee does well with his verse too. However, P comes with a verse that shits all over this... wait a minute. Oh yeah, I forgot Hav had another verse, and he does WAY better than his starter verse, murdering the whole track with just a little verse. This is freaking great! Anyone who disagrees, well... screw you!

8. Nighttime Vultures (feat. Raekwon)
The Chef (who is the second Wu-Tang feature on this album, by the way) comes through on this album, making Havoc relegate to the hook, instead of having his own verse like the others. Prodigy kills this, with a verse that was actually a Hip-Hop Quotable on The Source magazine, and in comparison, Rae does come off a little weak. That doesn't mean he did a bad job, as he actually did sound alright. But this song is fire though, another one of my favourites!

9. G.O.D. Pt. III
This is not, and I repeat, NOT a sequel to the classic "Shook Ones (Part II)". Named after an affiliate of the Mobb, who pretty much named himself after the third installment of a classic film series, Havoc uses "Tony's Theme" from Scarface, along with the classic drum-loop of Little Feat's "Fool Yourself" (aka the same drums as A Tribe Called Quest's "Bonita Applebum") to create such a standout. Taking Bonita Applebum's drums and using it in such a dark and lyrical way? Freaking amazing! This song features what I'd call one of P's best verses of his career, with threats like: "You'll be running for dear life so far you might fall off the map/Fucking with P, you need the gat/At least you have the opportunity to bust back". Havoc also comes with such a killer verse, that it's hard to see who was better, as this is one of those songs that have verses remained in their Best Verse list. This song is FUEGO, and is just one hell of a standout!

10. Get Dealt With
The piano samples on this song is just on point! The instrumental is easy to lure you in as a victim, that you can ignore anything wrong with it, maybe Prodigy saying the word "face off", "face off" and "face off" in a span of 3 bars. Hav continues with a better verse though, making this one hell of a song!

11. Hell On Earth (Front Lines)
AWWWWWWW YEEEEAAAAAHHH!!!! The title track on the album ends up being the biggest standout and the best track on the album, and it's another song where Prodigy spits what could be his overall best verse ever, or... one of the best verses in hip-hop history. While Havoc came with a good verse, wait till the end for you to hear the greatness of Albert freaking Johnson. He just kills the hell out of that track (ba dum tss... get it?). While the beat is a little bland, it suits this track so much that I don't even mind. Just like how a hot beat can carry shitty lyrics, such a wonderful verse can sometimes carry an average beat. Such a classic song!

12. Give It Up Fast (feat. Nas & Big Noyd)
Havoc continues his use of turning classic film soundtracks into beats on this one, as he takes from King of New York. Nas starts this one off good, and Havoc & Prodigy both do their thing on this track, but with Noyd, why does it actually sounds like he's gonna have sex with a guy? Nah, I can't condone that. It's still decent though!

13. Still Shinin'
The following two tracks you are about to hear is pure freaking HEAT (*insert fire emojis*)! This was their promo single before "Drop A Gem On 'Em" and the title track dropped, and it still holds up today. Both P & Hav come with some fire, which make this song so amazing. The album comes back on the sick instrumentals after some average instrumentals on the previous track, and it remains my favourite beat on the album, banging out like no other. You don't even know how much I love this song!

14. Apostle's Warning
After an introductory verse from Havoc, Prodigy renegades the whole album, just like he did with the album's title track, and he even starts off with a sick Star Wars reference. Here, P's flow is intact and is so good to the fact that you bump your head for the whole 4 minutes. It's that amazing, being one of his best verses at his prime and making him to be remembered as one of the greats. It's easy to admit his newer music isn't that good (Albert Einstein was fire though), but anyone who disagrees with this being fire, screw you!

Whew, that heat! If you're looking for dark ass content and fire instrumentals, Hell On Earth is for you! It's a wonderful follow up to what was a classic, and Mobb Deep don't play any games with this one. There's no commercial tracks, no tracks with R&B singers, just pure dark shit. It shows both P & Hav at their prime, doing what they do best; P with his refreshing verses, and Hav with some dope production. Every song on the album sounds freaking fantastic, and flow very well with each other. The features are good, having a range from Method Man to Nas. HOE also shows P at his finest, on the album's title track, "G.O.D. Pt. III", and "Apostle's Warning", The chilling production of Havoc remains present on "Still Shinin'", "Get Dealt With" and "Give It Up Fast", which has the overall feeling being memorable. While the overall album IS FREAKING AMAZING, none of those songs are better than The Infamous, now that I think about it, especially "Shook Ones (Part II)". If I was to grade those albums, HOE is like an A and The Infamous is probably an A*. While Hav's production has improved, the overall album won't come close. Even if I was to listen to it before I die, The Infamous would shit over it. However, that shouldn't stop you from listening to this heat as HOE is Mobb's second best work, and is one of those albums that flow together like it's nothing. Buy this! It's sad how P & Hav can't rap like this anymore. While both 13 & Albert Einstein were great, I feel their overall music now sucks. They sound very underwhelming and they lack that special sound. So if you want that special sound, cop this shit NOW!

The Furious 5ive
Hell On Earth (Front Lines)
Apostle's Warning
Still Shinin'
G.O.D. Pt. III
Man Down

Honourable Mentions
Extortion
Nighttime Vultures
You should know every song on here is fantastic!

A Tribe Called Quest - Midnight Marauders

Released: November 9, 1993

So yeah, I'm back on the old school shit. It kinda felt good reviewing some recent music for a period of time. But it's about time I revert back. The thing with this blog is that the type of hip-hop music I review should be a balance. Not too much old school, and not too much new school either. Anyway, today's album comes from A Tribe Called Quest aka Q-Tip, Phife Dawg, Ali Shaheed Muhammad and (occasional member) Jarobi White, as I continue their discography (although I still have yet to share my opinion of People's Instinctive Travels) with their second classic Midnight Marauders.

Rewind 5 months back, and I reviewed The Low End Theory, which, with a positive review, finally saw Phife taking the mic other than just Tip throughout the album. With classic songs such as "Scenario" and "Jazz (We've Got)", it can be remembered as an influential album, with its major jazz samples and a little darker content, compared to People's Instinctive Travels. Tribe would do the same thing with their next album, Midnight Marauders, but the only difference was their sound was more mastered and refreshing, being led by "Award Tour", followed by arguably their best song, "Electric Relaxation" and "Oh My God". Released on November 9, also the same date as Wu-Tang Clan's Enter The Wu-Tang (36 Chambers), the album's content is much brighter, in comparison to Low End, discussing everyday situations, instead of just society and violence; therefore being Tribe's most accessible album to date. The album features a robotic-voiced woman guiding the listener through the album, and at times, you can cause a big argument over which album was better between Low End and Midnight.

While The Low End Theory got the bigger praise and the most influence, people still see Midnight Marauders as a classic jazz rap album, they just don't give it the amount of praise they do with Low End. The album was a critical and commercial success, with their single, "Award Tour", being their highest charting single to date, peaking at #47 on the Billboard 200 (#1 on the Hip-Hop Singles chart). The album debuted at #8 on the Billboard 200, and in 1995 reached platinum status, being 1/3 of the platinum Tribe albums. The album comes in 3 different color schemes: Black, Red & Green (the trademark colors of the Tribe), with Black being the rarest of them all, and Red is actually the most common. With how frequent it is, I obviously have the Red one (also the European version).

Anyway, that's enough talking. Let's start the journey!

1. Midnight Marauders Tour Guide
An intro that pretty much sets the mood for the album. I actually love the elevator music in the background (just wanted to add that in).

2. Steve Biko (Stir It Up)
In this song, you'll start to realize that this isn't your sequel to Low End. Yes, Tribe still keeps the jazzy production, but it's more upbeat, funky and positive. Anyway, Tip & Phife both come with the heat, killing their verses with echoes in between their verses. The trumpets are in full effect, and the input from both Tip & Phife is just wonderful, with some sick bars here and there. Not to mention, while it weirdly has nothing to do with Steve Biko (who was a South African anti-apartheid activist) at all, this song ROCKS!

3. Award Tour (feat. Trugoy)
Dave aka Trugoy of De La Soul (before he changed it to Dove/Dave) only sings the hook for this one, and even to this day, it's a pretty good one to remember. This song is one that lyrically shows Tip & Phife at their finest, with such a chill and elevator-like instrumental to help them murk their verses like it's nothing. And while I don't wanna be one of those guys (especially when I wasn't even born in the 90s), this is better than some of the shit released today (I said some, considering that 2015 has been a year of great quality, from both lyrical and non-lyrical rappers). This is amazing!

4. 8 Million Stories
On an album which is known to be brighter, more accessible, and not dark, Phife's solo, which is produced by Skeff Anselm, is probably the most mature song on here, following Phife having the ultimate bad day, whether it's not getting his milkshake or trying to help his friends. Like he did with the Low End solo, "Butter," Q-Tip helps by doing the hook with Phife, adding more to the mood of this song. It's nice to see Phife getting more serious, and actually takes advantage of his solo shot by creating an interesting story, which can be very relatable. Also, the beat is smooth, laidback and is very suiting to the concept of the song. A very great song [P.S. Tip's "Help Me" adlibs at the end were so disturbing, especially when you listen to it on your earphones].

5. Sucka Nigga
Q-Tip reflects on the use of the n-word, talking about its origination, and how it's known to be a very used word. While others don't like to use it, generally the older blacks, Q-Tip says the opposite and want to bring the usage back (well, his wish has come true now). While I actually love this song, it could've been better for Tip to actually spit a second verse to actually elaborate on his point, instead of repeat the first verse. I know, I know, I sound like a freakin' English teacher, but it's actually true, to be honest. Then again, I still love it for what it is. And I love the statement at the end from the robotic voice.

6. Midnight
Another solo from Tip, and is darker than the previous, as he talks about all the situations that go on at the nighttime, which kinda tells a little story. Here, Tip's rhymes really ride the beat smoothly, and come with some great lines ["Hits the local bodega to wolf down a gyro; Son is on a midnight run like De Niro"]. Damn, this was a good one, and I freaking loved this song! It's one that shows how great the production on the album is.

7. We Can Get Down
OK, so now we're back to the funky jams. While it's not as good as the 2 previous tracks, it's actually still great in its own way, with its upbeat and groovy production. Phife starts off with a great 24-bar verse, with some highlights such as "Too many candy rappers seem to be at the top / Too much candy is no good, so now I'm closing the shop". Tip later continues with a standout verse, which actually amazes me, especially this line: "This is '93 and the shit is real / Black people unite and put down your steel", which tries to bring peace and positivity. This is overall a good song, and after the 3 previous songs just had one or the other, it's good to see Tip & Phife in full effect together.

8. Electric Relaxation
Is there really anything to say about this song? If you don't have this ANYWHERE on your top 10 all-time favourite songs, then there's probably something wrong with you. This is arguably one of the best rap songs ever. Point Blank, Period!

9. Clap Your Hands
After the classic smoothness which was of "Electric Relaxation", the album moves on to a darker vibe, but still has the positive feelings intact. Being one of a million songs in hip-hop history that samples Bob James' "Nautilus", both Tip & Phife come with more heat, and 1nce again, Phife starts off with a fire verse, having timeless bars like: "Crazier than 2Pac in the flick called Juice / Cock is longer than the hat worn by Dr. Seuss", and even mentioning that his favourite rapper is himself. Tip continues, but unlike Phife, doesn't really have much, but to actually set the mood for the audience to clap their hands and get down. It's a top-notch song with an A1 instrumental, that you can vibe to.

10. Oh My God (feat. Busta Rhymes)
Like Trugoy's appearance on "Award Tour", Busta Rhymes (who, at the time, just came from a break up of Leaders of the New School) does the hook for this song, and it still remains such a great one. Anyway, on this jazzy instrumental, Tip & Phife both spit some fire verses, with Phife having a really great one (which also censored the homophobic Caribbean word,"batty boy"). And "I like my beats hard than 2 day old shits"? What? I don't even wanna know how the hell he knows how 2 day old shits are like! If I were you though, although this song is an absolute classic, I'd rather you skip after they stop rapping, considering the amount of times Busta says "Oh My God".

11. Keep It Rollin' (feat. Large Professor)
Large Professor makes an appearance, and is actually the only feature on this album who doesn't contribute to the hook. That's only because there is none. Tip, Phife & Large both spit fire verses over a chill and smooth instrumental, and actually do a great job. While I normally focus on Phife a little more than Tip, it's weird to say that he didn't have a memorable verse that much. Neither did Tip. Large Pro is the one that comes with the heat, with such a good verse that I mostly bump my head to. However, why are you telling us to "buy the album when [you] drop it", really? That album aka The LP was supposed to drop in '96, but it took yo ass 13 years to get it out to the public! I still love this though.

12. The Chase (Part II)
I'm still not sure whether there's a Part I of this song or not, but the b-side to the "Award Tour" single is an "Original Version" of this song, which has a young Consequence aka Q-Tip's cousin (instead of Tip & Phife themselves) spitting a little verse that lasts 2 minutes. So I'm just gonna assume and call that one "The Chase (Part I)". Anyway, both Tip & Phife both have some wonderful verses, with Tip taking the shine with 2 verses and Phife with only 1 verse. The beat is amazing, and the vocal sample of the classic "Nobody Beats The Biz" is on point during the hook. At the end though, Tip shoutouts everybody ("Rock, Rock on"), and unexpectedly adds a great touch to it. One of my favourites on the album.

13. Lyrics To Go
Apparently, the program ends, but that doesn't mean the album concludes. On this standout, Tribe doesn't fail to impress me, with Tip having timeless bars like "Silly with the microphone, in other words I'm loco / Six foot zero with my height, complexion cocoa", and Phife continuing on with an impressive verse. This song is so GOOOOOOOOODDDD!!!!!! And the beat is freaking awesome. Such a great song.

14. God Lives Through
The album concludes with 1 verse each from Phife & Tip. Phife starts off by coming with some great references ("Walk past MCs like the girls did The Pharcyde"; damn, I love that line), all while repping Queens, but also shouting out many artists such as Main Source, Onyx and a pre-Illmatic Nas (since he was on the classic "Live at the Barbecue"), also the people behind the album cover. Tip continues with his normal style, and he actually does well with it. In fact, this is one of those moments on the album, where he has the best verse out of him & Phife. The "Oh My God" sample from Busta Rhymes appears again from the song of the same name aka track 10. It's a worthy concluding track, and it's such a way to end an album.

The following is a European bonus track:

15. Hot Sex
This was originally on the Boomerang soundtrack in 1992, and was made a single. This is actually known as one of Tribe's best songs, but in my opinion (key word: OPINION. Don't take it like I'm stating facts), it's just decent and something you can listen to like it's nothing. No surprising faces or anything. You can just bump your head to it, with no problems, considering that Tip had a very good verse. See, I was just doing that as I wrote this. But as I said, it's just decent.

Midnight Marauders is what I call Tribe's straightforward hip-hop album in their catalog. It's more positive, bright, more commercial to the point where I freaking love it. Phife & Tip both improve their rhymes, and Phife begins to get involved in the album a lot more. MM see Tribe mastering their sound with a lot of smooth production, great references, and the sampling being amazing on the beats, There is not one single bad track on here, and with not that much features, it's an impressive album. The Jazz samples on here are improved and Tribe focuses on everyday situations, instead of society all the time. On songs like "Midnight" and "Clap Your Hands", we see dark instrumentals, but interesting stories and wonderful lines, while on classic tracks like "Oh My God" and "Electric Relaxation", the smooth production and trumpet samples are in full effect, being the reason we all love Tribe. Phife is one that has impressed me more after Low End on songs like "8 Million Stories" and "Oh My God", and Tip actually has stepped up on songs such as "We Can Get Down" and "God Lives Through". And not to forget, Large Pro comes with the heat on "Keep It Rollin'". Overall, Midnight Marauders shits all over The Low End Theory. It's in my Top 10 albums, and it still remains a classic 22 years later. Just buy the freakin' album. That's all I need to say...

The Furious 5ive
Electric Relaxation
Oh My God
The Chase (Part II)
Award Tour
Midnight

Honourable Mentions
God Lives Through
Keep It Rollin'
8 Million Stories
Pretty much every track is the best on the album!

Kehlani - Cloud 19 + You Should Be Here

Damn, this girl's fine! MMMMM!!! Always looking fine in every of her pictures, slaying, doing her thing. Never seen a bad pic of her. She's just beautiful, GOD DAMN!!!!!! How I wish to... hol up, it ain't Wednesday yet, and this is a review, not a WCW post.

Anyway, it's that time again, where I revert to R&B instead of your typical rap album. And this time, it's a pretty ass chick that goes by the name of Kehlani aka Lani Tsunami. Most people in this generation should know her by now, seeing that alternative R&B is the new thing right now, other than people listening to Grime around the Stateside and mostly the UK (of course). But for many who don't get into that R&B sh... lemme give you some background information:
Born on April 24, 1995 (Fun Fact[s]: the same Zodiac sign as me aka Taurus, and exactly a day before The Infamous was released) in Oakland, California, the 20 year-old singer was a member of a group called Poplyfe, that was on America's Got Talent in 2011, and were in 4th place in the finals. After her time with Poplyfe, Lani started to become a little quiet with her career, but actually became part of The HBK Gang, a collective full of artists from the Bay Area, such as IamSu!, P-Lo, Sage The Gemini and more. In 2013, she sang background vocals on the group mixtape, Gang Forever, on songs like "Little Bit" and "Never Going Broke", leading her to pursue a solo career, making some great songs. You got that, folks? Well... let's carry on!

Released: August 26, 2014

In August 2014, Kehlani released her first project, Cloud 19 on HBK Gang. An EP, FreEP, mixtape, whatever, I'm gonna call it a "mini-mixtape". Referring to her age at the time and how she's a fan of recreational smoking, the mini-mixtape is filled with 8 tracks, with only 2 features from HBK Gang founder IamSu! and Kyle Dion. The tape was heavily praised by fans and critics, with Rolling Stone ranking it at #28 as one of the best albums of 2014 (just 2 places above Cilvia). She got recognized more, and developed a loyal fanbase. As you should know, I started to know about Kehlani via the HBK Gang mixtape, and followed her on IG before she blew up with this. With a powerful voice, a mesh of alternative R&B with some 90s vibes being present in her songs, I decided to check this one out, along with her recent one. Is this any good or interesting, and does it deserve its praise? Well, let's find out.

1. FWU
I honestly must say, I freaking love this instrumental from Swagg R'Celious. "FWU", the opening track, is a smooth track that follows Lani having a man that loves her, and that she's loyal, and a "ride or die" chick. Throughout the song, there was a late 90s/early 2000s Old School feel, that came with some modern drums, and I got a vibe that was reminiscent of the late Aaliyah. The guitar sample was on point, and imagine hearing a rapper on this, cos this was one of those songs, but Kehlani's voice suited this perfectly. Overall, "FWU" is a song where Lani boasts that her man "fux" with her cos of her loyalty, personality and all that. It's a great starter and a standout on the tape.

2. As I Am
Kehlani switches up this time, and goes with a slow jam, that is more chill, smooth, laidback and something to vibe to. Lani is still on the romantic feels, but this time, it's more of a sexual song about being in love, and both Kehlani & Red Mafia sets the mood perfectly. You feel a better Aaliyah vibe from this, that is more eerie, dark but wonderful at the same time, especially during the hook. It's smooth, has the "summer love" type of feel, and Lani belts out her voice, unlike before, making me happy, and mesmerized by the talent she has. Another great song!

3. Get Away
The mini-mixtape's lead single comes up next and ever since Drake sampled this at the beginning of his song, "Legend" (oh yeah, happy birthday to him, by the way), it's been a more recognizable song. The drums bang on this, and things sound a little darker than usual, but still on point. The song focuses on how Lani wants a man not to let her love slip away, and she succeeds to impress me. Jahaan Sweet's production was great, and was a sick one for the song, setting such a good mood to this. This was my first taste of her, and damn, was she amazing on this, belting her powerful voice out, and musically turning me on. This showed how Lani was all about: great production, amazing voice and a sweet ass hook. A fan-favourite on this mixtape!

4. Deserve Better
The type of shit that you'll hear on the radio, but unlike all the others, Lani kinda impresses me, and I really like it. Here, it follows Lani at the point where she feels that she should be treated better and that she deserves better. Honestly, it's a short song, and while I like it, it's not one I can care about like all the other. Take this as an interlude, if I'm being honest!

5. How We Do Us (feat. Kyle Dion)
Seeing from the "This Is How We Do It" sample, you could've thought it was a party track for people to get down to. But no, it's a collab between Lani and singer Kyle Dion, that focuses on making love and having sex, with the stuff they do together. If it had a video, it would've been the type for girls to start tweeting "Relationship Goals" on Twitter. Kyle does well with his singing, but obviously, with Lani being a girl, she obviously takes the cake, with her lovely voice. But it's not a standout. It's just a good song for the radio.

6. 1st Position
Another song produced by Swagg R'Celious, and once again, it's another standout. I just love the melody and the beat. It's just amazing, and it's probably has the darkest vibe out of all the songs here. It's another song that focuses on... you know, doing IT, but weirdly, has a lesbian/bisexual touch to it, especially with the line, "Say baby, stop messing with those boys, get you a lady". It's a good song, something dark, and gives an allure feel. It may catch people off guard, but honestly, I love this song!

7. Act A Fool (feat. IamSu!)
Hyphy. That's the best description to describe this song. With that Bay Area sound that people like DJ Mustard & Sage The Gemini made popular, this sounds a lot like Tinashe's "2 On", considering that Mustard, a producer from the Bay, produced that song. Lani is Tinashe while IamSu! is ScHoolboy Q. Anyway, this song is pretty good, something to turn up to. Lani's verses were pretty good, while Suzy came with the heat with a standout verse. With 3 verses overall on this song, I didn't know it'd still be at the 2 minute mark, I was thinking maybe 3 minutes or more. Nevertheless, for people like us, it's a good song. If you wanted a song where Lani was dark, and not turning up, then, this ain't for you!

8. Tell Your Mama
So the mixtape ends with a joint produced by Nate Fox, along with JP Floyd & J Gramm, and if you guys know how Nate was like with Chance The Rapper, you'll love this one too! This is probably the most positive and uplifting track, and shows Lani at her finest, talking about problems that you can go through, but to appreciate that you are here in this world. It's such a good song, and like "Deserve Better", it's a quick song, yet has the most replay value out of all the songs, showing that Lani can have different subject matter other than making love. Damn, this song is just... WOW!!!

So, there you have it... Cloud 19 for y'all. It's a good mini-mixtape, and it has Kehlani shows listeners what she's made of. A powerful voice, fire production, and good vibes, Lani brings a refreshing sound, different than what many do. It's something for everyone to listen to. Lani's subject matter is on point and so interesting. She gives that romantic vibe that wasn't really used before, such as giving some smooth 90s vibes, that remind you of Aaliyah, especially with her videos. And at times, there's things you don't expect from her, such as having a song about same-sex relationships on "1st Position", and "Act A Fool" which is pretty much Part 2 of "2 On". She gets positive and sends a pretty wonderful message on "Tell Your Mama", and her singing is just amazing. She can sing like no other. Belting her voice up and actually succeeding to impress me and other listeners. Overall, this was a very, very strong effort from Lani. Everything about this was good. How she brought a refreshing sound, the beats, the funky singing, everything is just awesome. If this was released at the start, I think this would've got more praise. People would've had more time to get with the songs, considering that this was released just before Summer was to end. Download this now! 7.5/10 is my rating. Every song on there is just fire! FUEGO (*insert fire emojis*)! Hot! Wonderful! Mesmerizing. That's how much I love this!

The Furious 5ive
Tell Your Mama
FWU
Get Away
1st Position
As I Am
All of the songs are my favourites!

OK, On to the Next One!

Released: April 28, 2015

After Cloud 19 was released, Lani started to get more recognition and was praised for her unique and wonderful sound. Celebrities started to become interested in her music, and became a household name in the new generation of R&B, up with bigger people like The Weeknd, Jhené Aiko, Tinashe, Frank Ocean, Miguel and more. As this led into the new year, in March, she announced that she has a new deal with Atlantic Records, along with a new project called You Should Be Here, and took her time releasing some freebies such as "Down For You" and "Jealous". Finally, on April 28, she released the mixtape.

You Should Be Here is a mixtape in the sense that Drake's If You're Reading This It's Too Late is. While you could technically call it an album, mainly due to the fact that it is not free and that they charge you (well, you can listen to it for free on SoundCloud though), Lani still classifies it as a "mixtape". Anyway, released on April 28, the mixtape was self-released, with features from BJ The Chicago Kid, Chance The Rapper, Lexii Alijai and Coucheron. Lani still keeps her sound, still blending old-school R&B with the current sound.

Like Cloud 19, Kehlani managed to get critical acclaim from the tape. receiving an average score on Metacritic, and a positive review on Pitchfork. It can be known as one of the best albums this year so far. Hell, even Selena Gomez liked her mixtape. Like Drake's tape, many saw it as a full-length album, especially having 15 tracks, and many liked her song. Being independent and not recognized like big names of our generation, the album reached #36 on the Billboard 200.

I've done enough talking, so I'm just gonna get into it!

1. Intro
No, people, this is just your normal album intro, which is more of a voicemail skit between Lani and her grandpa (with a great speech at the end), and it's interesting. Unfortunately, she doesn't show off her singing and melodies over a chill beat here. Enough said!

2. You Should Be Here
But the intro is a good lead into this song, which is a great title track. Here, Lani tries to let her man know that he should be fully present, mentally and physically, in this moment. The beat is chill as usual, and I can bump to it with no exceptions. And like she normally does, Lani smooths down her voice, and is a musical turn-on, hearing her wonderful singing. But again, is it me or does it feel way too quick? I still love it though!

3. How That Taste
This song follows Lani talking about her success and doubters, and how she came from people hating on her to actually getting tickets to her show, asking for a verse etc, impressing me with the content and her vocals, along with the fire production. Once again, Lani's singing is still calm, soft and not too exaggerated, making this a dope track.

4. Jealous (feat. Lexii Alijai)
Female rapper Lexii Alijai is the first guest appearance on the mixtape, as Kehlani gets with two verses that focuses on a guy that uses her for the fame and the bragging rights, as she expresses her feelings on her. Before listening to this song, I had to know who Lexii was in the first place, so I checked out her music, and she impressed me with those songs, especially "By Your Side". And this verse is another one of her memorable moments, and her flow is on point, using a little laidback style of hers to spit out her fire bars. Not to mention, she's actually hot too. Also, this is one of the songs that actually has an exceptional length, and doesn't feel too quick. The way Lani presents the song's concept is why I love her music! One of my favourites on this mixtape.

5. Niggas
Is it me, or does this song remind me of a Jhené Aiko song, but a little better. We all know that Jhené loves to talk about her past love-life, about how she's always with the lame men, and that's exactly what Lani does here. The only difference here is that Lani impresses me more, as her singing sounds more relaxed, the beat is smooth as fawk, and I can fully bump to this. But that last verse, she killed that shit, and when she let it all out in the end, it made me appreciate this song a lot more. Once again, it doesn't sound quick, and it's a very comfortable listen.

6. Wanted
This song follows Lani describing her man and what he does for her, making her feel wanted and that he loves her. Unlike the others, this one is chill, but bangs out with a little poppy touch to it during the verses. Again, it's like an interlude, but it's alright if you ask me.

7. The Way (feat. Chance The Rapper)
Chance The Rapper is the next guest on the mixtape, and damn, this song is amazing. In terms of the vibe, it's kinda similar to Ariana Grande's one, especially considering that it's a singer/rapper collab. But obviously, this one is better, more explicit and while Lani isn't one to belt her voice out like Mariah and Ariana, this was cool. Chance comes in the middle, and does a very decent job, having a great flow and mixing it with his singing. This is something I can vibe to and Lani's soft singing once again is a musical turn-on. I love this song!

8. Unconditional
Now this is something upbeat and refreshing. Here, on this song, Lani talks about how she's like, and how her man should really love her. At 2 minutes, even around the same length as the mixtape's title track, this unexpectedly, doesn't feel as short, and is really good, especially the catchy hook. A very decent song.

9. The Letter
This song is known as one of Lani's most personal songs on the mixtape, and it follows Lani having loved ones that were never around when necessary, including her own mother. This is one of those songs where Lani softens her singing, but also is at her finest, mainly because of the emotional feel of the song. The piano-led instrumental is the part where you kinda get the feels, and the emotion, especially when this song and its second verse relates to the theme of this album. This was apparently so emotional that Lani actually had a breakdown at the end of the song. This song is too real, and it's at a point where the album overall gets interesting.

10. Runnin' (Interlude)
OK, so this song is actually classified as an interlude, which is weird, cos it feels like it has an acceptable length. When the beat drops, it's just amazing that you wish that it's longer. especially when Lani sends a little message at the end about how men have a fear of strong-minded women, and if they can, they're a keeper. It's so good that I feel that Lani could've added an extra verse, maybe not on the album, but maybe a SoundCloud exclusive, cos this shit is FIRE!

11. Be Alright
Three words; So Damn SMOOTH! This song is amazing, and is slow, following a positive vibe, saying that even if you go through a lot of BS, you're still gonna be alright. Take it as Lani's version of Kendrick Lamar's "Alright", except it doesn't come at the police or the black man struggles, but it's from a woman's or your Average Joe's perspective. A very great song.

12. Down For You (feat. BJ The Chicago Kid)
Chicago soul singer BJ has been known for collaborating heavily with TDE artists, whether it's songs like "ROTC (Interlude)" with Kendrick Lamar, or "It's True" with ScHoolboy Q. So it's good to say this guy has came a long way and has made a pretty good following, and he finally gets an appearance on this standout off the album. This could've honestly had a video, and would've impressed me more, especially when this is reminiscent of old-school jams, having a reference to Musiq Soulchild's "Just Friends (Sunny)". Both Lani & BJ have separate verses and hooks, but when they both come together to sing, it's just amazing, especially when they both sing their melodies, during the break. It's a very nice song, and it's impressive!

13. Yet
This is alright, when you're putting this on R&B standards. It bangs out, and that hook just reminds me of most of these rapper's songs, especially Drake, when he's on the flow that Kehlani uses. Not a standout, but I like it.

14. Bright
Why does this remind me of one of those folk songs, or soul songs back in the day? Cos this is amazing! When this first came on, I just thought of a middle-aged white female singer doing this or a simple cover of a classic soul song, and that's exactly what it sounds like. It sends a powerful message, and Lani's singing is on point. The beat, along with the guitar is great, and this has a nostalgic feel to it, considering that Lani makes you think with this song. Overall a powerful and amazing song!

15. Alive (feat. Coucheron)
The mixtape concludes with an upbeat and a positive ass song, the same way Cloud 19 ended with "Tell Your Mama". This one is funky, and very bright... hell, the video is fire, and pretty much describes the song: carefree, bright and peaceful. Lani's singing is more soft, and the beat is very poppy, but very appropriate and something to vibe to. A great conclusion, and I love it!

If I could describe You Should Be Here in 1 word, it would be: refreshing. YSBH is a big step up from Lani's previous work, especially considering that there's a lot more tracks. Lani pushes forward and improves, with better material instead of songs about boys, sending powerful messages and having a peaceful self all the way through the mixtape. The production is better and is more hard-hitting, banging out a lot more and Lani proves to make some good music other than slow jams and nostalgia beats. She has modernized her sound and finally found herself. Songs like the mixtape's title track and the "Runnin'" interlude shows Lani's versatility. It's top-notch and the concept of this tape is just interesting the way she presents. She begins to have better subject matter and songs like "The Letter" and "Alive" just shows that, with emotions and peaceful vibes. Lani gathers more people for this, and they both take advantage of their appearances. Chance The Rapper adds a great verse on "The Way", BJ was amazing on "Down For You", and not to mention, because of Lani, I was turned on to Lexii Alijai (who is an amazing rapper), and she killed it on "Jealous". One thing about this tape and Kehlani overall is her vocals. It's amazing, they musically turn me on, but there needs to be many moments where Lani can belt her freaking voice out. It'd just make me, and the rest of the people, love her more. Overall, this mixtape was a great piece of work. It was refreshing, and something different. Buy this NOW! This is great, and will probably remain one of my favourites at the end of the year.

The Furious 5ive
Jealous
The Way
The Letter
Down For You
Runnin (Interlude)

Honourable Mentions
Alive
Bright
You Should Be Here