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