eLZhi - Out of Focus

Original scheduled release: 1998/1999

A lot of hip-hop fans know Jason Powers aka Detroit rapper Elzhi for his contributions with Slum Village, along with his unmatched lyricism. But El had a lot of history way before becoming the new third member of the group. As the original Slum Village (Baatin, T3 & J Dilla) were prepping their album Fantastic, Vol. 2 after the first one leaked, El was trying to make a name for himself, performing with numerous groups including his own group with Dwele & Lacks called The Breakfast Club.

It was 1998. Before the SV affiliations and being the new member. Before the Dilla collabs. Elzhi began collaborating with local producer House Shoes on a number of tracks. Magnetic also contributed to these session, and this was the material that would form a new project called Out of Focus. The project's development was going very well, as El finalised a tracklist of 9 tracks, had a cover to be designed, and produced a large number of blank tapes. However, for somewhat reason, the EP was abandoned at the last minute and didn't get the proper release it deserves.

Throughout the next two years, El's friends started to beg him for this material, since it never saw the light of day at the time, and he finally provided them with CDs of his music. These CDs didn't only feature the full EP but 3 additional tracks. The internet was finally blessed, as the project would leak, under the name "Unreleased Solo Album".

So this is it... the project that didn't get the proper release it deserved. The underground debut. All 9 of the EP tracks and the 3 additional tracks. Let's get into it!

1. Broken Frames [performed by Theory 13]
So this woman called Theory 13 starts this EP off with a little poem, which touches on society and the system, along with the government and lies that are being told. This is something interesting, with some key quotes that got me including "Ignoring the facts in the fact/Believing what you see is all that/Only because the mirror is cracked, distorted/Contorted your image until not one blemish remains" and "And still vision is blurred/Those who remain sightless, shall remain flightless/Heavy as rocks on the bottom of the dead sea/Weathered by their "ignorance is bliss"-mentality". It's not necessarily a standout but it does what it does to start off the project.

2. Scattered Pictures
The intro leads very well into this sombre autobiographical song, which is one of the best songs on here, and the EP just started. I loved it from first listen, and it's one that stays very true to the EP's concept of not seeing well. In fact, it's probably the song that connects to the concept the best out of the rest. El gets very personal on here, explaining his life story and reflecting on his past. With experiences that include his 2nd birthday, missing his father and so much more, it's an interesting song to hear with such amazing lyricism; featuring lines such as "Step Daddy psssst please, it feels like blood/The same type of needle takes from you and fills right up/Our bond became strong as Teflon, Moms stress gone/She pressed on like a piece of vinyl recording the best song" and "My feelings inside become a sentence/Snatching thoughts from a black cloud that hung in distance, and got good at it/Just a skinny black kid with thick glasses and book baggage and a torn jacket". El really delivers with his verse, and gives such a vibe that sets the mood for the EP.

3. MuSick (The Last Days of Hip-Hop)
Here, El finds himself lamenting on the state of mainstream hip-hop music over a menacing and ominous beat from House Shoes. It's your usual complaints, unoriginal subject matter about how rap is like these days, and it's been done many times back in the 90s (e.g. De La Soul's Stakes is High). But El comes through with amazing flow, rhyme patterns, similes and lyrical skill to help make the song better. It's interesting to see the connection to the concept of opinion and perception, as Elzhi floats like a boss on this beat. It was a grower, man.

4. Horny Joint
This is probably one of my favourites, and a memorable one for me in fact. This was the first of the additional songs on the release, and it doesn't disappoint as El comes through with impeccable wordplay and flow. The beat is something funky and sombre, and El sounds so comfortable on it even with his complicated delivery. He even slides in a "MuSick" hook interpolation, funny because that was just the previous song on this project. Great tune!

5. S.A.R.A.H. (Intro) [performed by Dwele]
Y'all remember the remix of "Dime Piece" on that J Dilla album The Shining? It was confusing that we heard the remix when the original was kinda rare to find. It turns out that the original was actually on this EP, serving as an opening interlude to the next joint, "Someone as Real as Her". Also, not to mention, Dilla actually planned to remix the Out of Focus EP before his death, so I'm sure he managed to get Dwele to make this into an actual song. Anyway, this interlude is nice and smooth like butter, the vocals and the live instrumentation is great. Just something to vibe out to.

6. Someone as Real as Her (feat. Dwele)
What a beautiful song. "S.A.R.A.H." happens to be El's take at a "girl song", as he shows a surprising amount of vulnerability, describing a crush he had on a girl, but uses the lyrics to say what he was unable to say in person. He happens to observe her from afar, hoping that they'd be together in the future. Dwele's vocals are soothing, and Elzhi's verses feel like such sweet poetry, with lines like "Her aura’s a radiant light,, very fly, like takin' a flight/On a plane, she’s not plain, she’s eccentric" and "But when I see her face, it looks dipped in Oil of Olay/It’s hard to concentrate, wishing these arms were lakes". El fantasises throughout about Sarah but frames them more as hope, suggesting how scared he is to let out his feelings. Damn, this sounds like an English essay. But yeah, I loved this song.

7. Interlude (feat. Dwele)
Just a little conversation between El and his father about his ambitions while Dwele croons over some soft guitar-led instrumental. That's basically it.

8. Choose
The second additional cut on the project, originally omitted from the final cut of the EP. Produced by Karriem Riggins, El takes time to rap about his love for poetry & hip-hop, and how it affects his relationship with his girl, who wants him to choose between her and rapping. It's an interesting cut for me, and El floats so well over the dark beat with the rhyming patterns and wordplay.

9. What I Am
This is on some neo soul shit, that Erykah Badu, Jill Scott, Dwele type. Here, over this laidback smooth instrumental, Elzhi comes through with the usual wordplay, punchlines and lyricism, and doesn't disappoint. I would've loved an actual singer to jump over it, instead of El's silly singing, ha! Dwele and Erykah would sound just at home on this track.

10. The Big F.U.
Meh, this is just alright, compared to the rest of the tracks. It's still an essential joint, with El sending a message to haters and other MCs that have got on his bad side. For somewhat reason, the beat is lowkey annoying and El's performance isn't up to par with its neighbours on the EP.

11. Boomerang Slang
The well-known song off the EP, later appearing on his Witness My Growth mixtape in '04. House Shoes samples a Marvin Gaye classic, chopping it into a dark and ominous beat for El to rap about the cold and dangerous streets of Detroit, and the stories that take place there. It's amazing, hearing Elzhi paint such a picture about street life, with each character that has a troubled history behind them, like the pastor that "knows the Bible but don't know Jesus" or the pregnant woman who lives a fast life. The sample chop was great too, and added onto the dark tales El managed to tell. Such an incredible cut.

12. Where It All Begins (feat. Hodge Podge)
Also knows as "Bugz Joint", El dedicates this song to the late D12 member Bugz who sadly passed away around '99. It's clear that this is where the title originates from, with the opening lines "When I wrote this I was out of focus/vision blurred from the tears"; and also shows how upset he was about the news. Hodge Podge/Big Tone comes through with a hook and some adlibs, providing a third verse which was pretty great too, he managed to hold his own with El, reminiscing about Bugz and how devastated he was about his death. It's a solid heartfelt song, which ends the EP so appropriately.

ScHoolboy Q - Setbacks + Habits & Contradictions

So far, the only TDE artists I've reviewed are Kendrick Lamar & Isaiah Rashad. And I never managed to fit in a review of a ScHoolboy Q album. For the past two years, I've started to like Q a lot more than before, probably because of his verse on the Black Hippy cut "Vice City". And back when Kendrick was blowing up, I was banging some of his music out. But my mind got older, and with recent listens of his four albums, it's only right that I share my thoughts on them. This time, his first two albums: Setbacks and Habits & Contradictions.

But let me run it back (word to Slum Village, ha) before I get into it. Quincy "ScHoolboy Q" Hanley grew up in South Central LA, and joined the Hoover Crips at a young age. Around this time, he was gangbanging, and selling drugs. It was at 16 he wrote his first verse, but never took music seriously till he was around 21. He started working with Top Dawg Ent in 2006, working with their artists including Jay Rock & Ab-Soul. Two years later, he released his debut mixtape ScHoolboy Turned Hustla. He signed a deal with TDE later in 2009, releasing his second tape Gangsta & Soul. He'd later form Black Hippy with his labelmates Kendrick, Jay & Soul. The next year saw him touring and recording music with them. He was also recording his independent debut album Setbacks for most of 2010. It was January 2011 that the album would be released.

Released: January 11, 2011

Setbacks was ScHoolboy Q's long awaited debut, released independently under TDE and digitally on iTunes at the start of 2011. The album was named after the limitations Q had experienced and endured before the release, and in a 2012 Complex interview, he speaks on how he's doing all this "dumb shit" that stops him for accomplishing what he wants to. Loaded with 15 tracks, Setbacks featured guest appearances from Black Hippy (which includes Q, Kendrick Lamar, Jay Rock & Ab-Soul), the late Alori Joh, Jhené Aiko, BJ the Chicago Kid and Punch; along with production from Digi+Phonics, Focus..., DAE ONE, Rahki and more.

The album debuted at #100 on the Billboard 200, and as of February 2014, sold 17k copies. Two weeks later, Q released a free version of the project, omitting "LigHt Years AHead (Sky HigH)" with Kendrick Lamar, and replacing it with two bonuses: "Live Again" with Kendrick & CurT@in$, and "F*** Ya Hip-Hop" with Rapper Big Pooh & Murs.

I personally see this as Q's most underrated body of work and you'll see why as I read through this...

1. Figg Get da Money
Q starts off the album with a laidback but aggressive track as Lord Quest provides a dozy instrumental that can put the average listener to sleep, ha. The sample is basically elevator music. But Q comes through with 3 great verses with impeccable flow and lyrics, touching on the ways people have been hustling and grinding in the streets where he lives, legally and illegally. I loved this song for almost 5 years, and it gets better with every listen. Q floats over the beat so well, and I enjoy it so much. A fire opener!

2. Kamikaze
Such a hardhitting tune! Here, Q goes all out, rapping about his gangsta lifestyle, and according to himself, the song was like he wasn't tryna rap - "just going broke". Unlike the previous track, which is pretty laidback, this would've been the best way to introduce the album. Not saying "Figg Get da Money" is shit, it's a fire opener. But this bumps so hard. I love the beat so much and Q's flow is on point here. Just gets my head bumping.

3. LigHt Years AHead (Sky HigH) [feat. Kendrick Lamar]
Kendrick is the first guest appearance on the album for a pretty decent collab as Focus... provides an interesting soundscape for the song. Q's verses are aight, but Kenny came through with such an energetic flow. While it wasn't a renegade, he did his thing and out rapped Q like it was nothing. A solid cut on the album. On to the next one...

4. WHat's tHa Word (feat. Jay Rock)
That hardcore Gangsta shit. I used to not like this song, but this bangs! With such a West Coast sound backing the song, Q links up with the mighty Jay Rock for an aggressive track, where both rappers really do their thing. Rock had the upper hand, as usual. He never disappoints when it comes to features. Ab-Soul's uncredited hook is, er... something, I guess. It's kinda shit, but it's whatever. Hooks aren't for everybody, ha! Overall, this song is heat.

5. #BETiGOTSUMWEED
I remember when I first listened to this album, this was one of the songs I used to bang out HARD! Year 7 days, man... this song was so smooth and soulful. #BETiGOTSUMWEED is one of the cooler moments on Setbacks, where Q explores his love for... you guessed it, weed! He also goes through his lifestyle of screwing bitches, riding out and wanting to chill. No matter what, Q always has some weed to make the day right. It's a nice song, and Q is floating so effortlessly on the beat. The sample is on another level as well, Tae Beast chopped that so well. Love this song.

6. Druggys wit Hoes (feat. Ab-Soul)
After Q gives a shoutout to Soulo on the "#BETiGOTSUMWEED" outro, it's only right for the two to link up for the first of a (probably unfinished) series where they both rap about drugging around. It's another example of one of the "setbacks" on the album, as it stops Q from accomplishing what he wants to. Everybody loves to talk about how Q's chemistry with A$AP Rocky but his chemistry with Ab is underrated. They really go well together, and hardly disappoint whenever they link up. Q does well on this one, and he floats over the soulful instrumental like it's nothing. But this song is one of the moments where we see Soul on such an aggressive and loud flow, and he was snapping. I was impressed! They flowed so well on this joint, and there was no bad verses or lines at all.

7. Cycle
One of the more serious songs, and, in fact, a standout on the album, as Q takes some time to go in-depth about growing up in urban LA; with the gang culture and the cycles of violence that go on over a pretty interesting soundscape from DJ Wes. The sample kinda reminds me of some 70s infomercial music, and Wes flipped it hard AF (PAUSE! Word to Dashie, hehe). It's a pretty interesting track, with such intriguing storytelling and content. Probably the best song on the album.

8. To tHa Beat (F'd Up)
Always thought this song was shit, to be honest. The instrumental isn't my cup of tea and I didn't like Q on it. It was obviously an attempt at a club-friendly/party jam about drugs and shit, but nah, it's a no for me, man... NEXT!

9. Crazy
Probably the most underrated song on the album, as Q provides some solid bars over a guitar-driven headbanger from Sounwave. It's your typical hardcore street song from Q and it delivers pretty well. Doesn't bore me one bit, I'm messing with it.

10. PHenomenon (feat. Alori Joh)
The late Alori Joh provides some soft crooning vocals on one of my favourite songs from the album: a celebratory track about finally being successful and famous. Q feels great about this as fame gets to his head, reflecting on his gangbanging lifestyle, drugs and what he used to do to get money. Alori does her thing, and I love her vocals. Q's verses are pretty impressive and the introspection on the song is great. Phonix's instrumental bangs so hard, and I'm not sure which song had the better sample chop: This song or Jeezy's "Mr. 17.5"? But I digress; nevertheless, this song is fire!

11. Situations
For somewhat reason, the beat reminds me of G-Unit. 50 would sound at home on this beat. Then again, Q did say 50 was one of his main influences. This song is just alright, kinda forgettable tho, compared to the rest of the good songs on here. At least it's better than "To tHa Beat (F'd Up)", lol!

12. Fantasy (feat. Jhené Aiko)
Another one of the TDE/Jhené Aiko collabs, from when Jhené was trying to revive her career after album delays and the B2K breakup. Here, Q gets on some love shit, which doesn't really impress me too much. The hook is freakin' shite, and Jhené's soft ass voice doesn't even save it AT ALL. It was the instrumental that saved the song, to be honest.

13. I'm Good (feat. BJ the Chicago Kid & Punch)
A personal and introspective cut, in which Q raps about his trials and tribulations, along with the decisions he has made throughout his life; reminiscing about his early years and the birth of his daughter. BJ the Chicago Kid comes through on hook duties, and he does pretty good. TDE co-president Punch provides a guest verse, which is pretty impressive, rapping about the stuff he observes in his streets. I love the vibe, considering the sample being used very appropriately, and all 3 contribute so much to this song.

14. Birds and tHe Beez (feat. Kendrick Lamar)
K-Dot returns for another track with Q, and it's a more relaxing cut on the album, that is also introspective. Here, Q raps about the crazy stuff that goes on in the hood, and also about trying to provide for themselves and their family. Kendrick's verse is almost like a motivating reply to Q's two verses, as he wants him to prosper and get out the hood. He also ends it by hoping for Q's daughter to not live life without a father. It's a very heartfelt verse and Kendrick performs far better on here than before. The beat can be boring to the average person but I don't mind it, and Q's use of the Spaceship flow during the hook is very suiting. A pretty solid conclusion to the album.

The following is a bonus track:

15. Rolling Stone [performed by Black Hippy]
It isn't a 2011 TDE album without a Black Hippy song... wait, scratch that, Section.80 didn't have a Black Hippy song. Anyway, Q gets the rest of his (original) TDE crew on this song, as Sounwave samples the classic Zombies tune "Time of the Season" for an unexpected banger. Everybody on this track deliver solid performances, as they all trade bars. But I was a lot more impressed with Jay Rock & Q's bar trade, they snapped! Kendrick only had a couple bars and a hook, but he did alright. Jay even traded bars with Ab-Soul, although Jay took over most of the verse. But yeah, this song is a solid one, and all 4 do their thing.

Two weeks after the album's digital release, ScHoolboy Q released a free version of Setbacks. Although the third track "LigHt Years AHead (Sky HigH)" was omitted, Q added two more tracks. These are the following:

Live Again (with Kendrick Lamar & CurT@in$)
Another track where Q links up with Kenny (and also CurT@in$), and it's a better replacement of the mid "LigHt Years AHead" cut. All 3 recall memories of their life, telling interesting street tales over the sombre instrumental from Tae Beast. Kendrick starts off the song nicely, and as usual, he kills it. CurT@in$ also comes through with a verse, and he does a decent job. Q finally comes through, and he was in such a zone spitting that shit. I think he had the best verse out of the 3, and it's one of the moments where he slightly outshines Kendrick. This is such a good song, and it really should've made the original retail version.

F*** Ya Hip-Hop (feat. Rapper Big Pooh & Murs)
A more funky and upbeat West Coast-like jam as Q hooks up with Rapper Big Pooh (formerly of Little Brother) & Murs to come at those that critique or rap when they don't know anything about rap nor support an artist's work. Q's verse was alright, with his braggadocios flow and rhymes. Pooh's verse is slightly more impressive, and while bragging, raps about the haters and trying to provide for himself. Murs, on the other hand, was on another level on this shit, rapping about those who were hating or thought he sold out. He snapped like mad. All 3 did their thing, even Q, but Murs washed everybody! Overall, this song is decent, it goes too quick and isn't the most memorable tune. So while the verses were aight, the overall feeling wasn't there for me. I don't even know why I wrote a paragraph about this... on to my final thoughts!

Final Thoughts
Now at the beginning, I said Setbacks is pretty underrated. And I feel it deserves its props, to be honest. This album is actually solid, going through the shit that pulls him back from his achievements while also having a few bangers and hit attempts. The skills are there, and Q happens to impress me with most of his verses. Already at the start of the album, Q goes OFF on the elevator music ass opening "Figg Get da Money" and aggressive standout "Kamikaze". "Crazy" is a solid headbanger, and while the beat can be annoying, his presence helps to make the song even better. "Birds and tHe Beez" shows off his impeccable flow, as he raps about providing for himself and his family. "F*** Ya Hip-Hop" is one where he knows how to be braggadocios about himself, comparing to others and the haters.

Setbacks has a lot of different vibes, and it can be seen as inconsistent at times. "Cycle" is one of the more serious songs on the album, as Q tells a tale about a boy growing up around gang culture in urban LA. "I'm Good" and "Birds and tHe Beez" shows him at his most introspective and personal on the album, rapping about the trials and tribulations he's been through, and also about trying to provide for himself and make it out the hood. "#BETiGOTSUMWEED" and "Druggys wit Hoes" are both soulful and laidback tunes which sees him (and Soul on the latter) rap about drugs and having a good time. "WHat's tHa Word", "Crazy" and "Situations" are your typical street rap songs from the TDE crewmate. 2 of the songs bang HARD! But the third one is a lot more slower and calmer, reminding me of some G-Unit shit.  "To tHa Beat (F'd Up)" is honestly the only song that really could've been omitted. It honestly didn't suit the vibe, making the album slightly inconsistent, and is probably the most forgettable song on the album.

Q gathers a solid number of guests, and most deliver on their performances. Alori Joh provides some nice vocals on "PHenomenon", with such a catchy hook I really enjoy. BJ the Chicago Kid also comes with some smooth crooning on "I'm Good", and Punch's verse was great. It really added onto the sombre vibe, and the sample made the song even better. Rapper Big Pooh & Murs link up with Q to criticise rappers and haters that don't know their shit or support artists on "F*** Ya Hip-Hop". The rest of Black Hippy provided solid performances individually: Kendrick Lamar was the first appearance on Setbacks, and while his contribution on "LigHt Years AHead (Sky HigH)" was forgettable for me, his performances on "Birds and tHe Beez" and "Live Again" were amazing. Oh yeah, and CurT@in$ did well on the latter. Jay Rock came through on his "WHat's tHa Word" verse. Ab-Soul's hook was shit tho, but he had his own standout moment on "Druggys wit Hoes", showing the great chemistry he & Q had. All 4 come together for a great funky joint "Rolling Stone", and they all provided great verses, trading bars with each other. Jay Rock & Q really had some unexpectedly great chemistry on this shit. Jhené Aiko was trash on "Fantasy"; the vocals were there, but the hook was pure shite!

Digi+Phonics delivered some fire production. Sounwave flipped that Zombies sample very well on "Rolling Stone", and made such an aggressive tune with "Crazy". Willie B made such a banger for "Kamikaze" and Q freakin' SNAPPED! Tae Beast was a lot more consistent with it out of the three, providing such smooth beats for "#BETiGOTSUMWEED" and "Druggys wit Hoes"; along with the sombre "I'm Good". The rest of the producers supplied some heat too: I loved DJ Wes' "Cycle" instrumental, it was pretty interesting and he flipped that sample well. DAE ONE did his thing for "Birds and tHe Beez". Phonix Beats provided some nice production, I enjoyed "WHat's tHa Word" and the banging "PHenomenon".

Overall, this is heat, and the replay value is certainly there. An underrated project from Q, and deserves more recognition. The highs are great, and the lows aren't too much of a problem. Not the best TDE album but it's good enough.

Recommended Tracks
Cycle
I'm Good
Kamikaze
Live Again
PHenomenon
Birds and tHe Beez
Druggy's wit Hoes
#BETiGOTSUMWEED
Figg Get da Money

Let's move on, brehs!

Released: January 14, 2012

The rest of 2011 was a good year for Q & TDE. Setbacks happened to be Q's breakout project, propelling him into the spotlight and gaining a large following from the internet. Not only that, after the release of that album, Q had stopped gangbanging altogether; and in March, headlined his first show in California. The rest of the TDE crew dropped their debut albums later on in the year too: Ab-Soul released Longterm Mentality, a project not part of his Long Term series, but meant to bridge the gap between the second volume (Lifestyles of the Broke and Almost Famous) and the upcoming third volume. Kendrick Lamar released Section.80 at the start of July. And finally, Jay Rock secured a deal with Tech N9ne's Strange Music label and dropped Follow Me Home, by the end of that month; 3 years after its lead single "All My Life (In the Ghetto)" with will.i.am & Lil Wayne.

In September, Q announced his second project, Habits & Contradictions, dropping "Druggy's wit Hoes Again" with Ab-Soul in October. Throughout the next four months, he'd put out a few songs from the album before announcing the release date. January 14 saw the release of H&C, which was described as a prequel to his previous effort Setbacks. Released digitally as an iTunes exclusive, the album features 18 tracks, with guest appearances from his Black Hippy cohorts (Kendrick, Soul & Jay), Dom Kennedy, Curren$y, A$AP Rocky and Jhené Aiko.

Habits & Contradictions debuted at #111 on the Billboard 200, selling 3k copies digitally in its first week. It moved to the iTunes Top 10 Albums chart during the early hours of release. It also scanned 4k units during the two days of retail without any marketing or advertising.

Is this any better than Setbacks? Matter of fact, is it even his best work? Let's find out...

1. Sacrilegious
A sombre and personal opening, that follows the contradictions of a killer seeking salvation. Here, Q reflects on his past life in the streets gangbanging, finding regret as he hopes for God to forgive him. Kendrick provides some background vocals, crooning and humming on the hook as Q begs for God in his life. It's an interesting song, with a nice guitar-driven instrumental from Tabu.

2. THere He Go
A nice Summer banger to vibe out to. It's a celebratory jam where Q flexes about how he's now a lot more known, and is shining. I love the production, and Q floats so well over this joint.

3. Hands on tHe WHeel (feat. A$AP Rocky)
The classic Q/Rocky collab. After Q's appearance on the Live.Love.A$AP banger "Brand New Guy", Rocky returns the favour, being the first guest on the album for such a alcohol and weed-fueled banger. Best Kept Secret came through with the sample flip of that Pursuit of Happiness cover from Lizzie. And this is probably my favourite out of all the collabs both of them have done. It shows their chemistry, and their verses are some of their best. Rocky washed Q here tho, but Q still held his own tho, and I loved it. 5 years later, and it still gets plays.

4. Sex Drive (feat. Jhené Aiko)
Q & Jhené collabs are always something mid, and this is another example. "Fantasy" wasn't that great, and so is this one. Once again, the beat saves it. However, the fact that the hook was way better than the previous one makes me kinda appreciate it. Still not that good of a song tho.

5. Oxy Music
The album starts to get dark and grimy, as Q talks about his experiences selling Oxycontin and heroin in the streets. It's one of the slower and depressing songs on the album and it's certainly an interesting cut in Q's discography.

6. My Hatin' Joint
Q links up with Mike WiLL Made It for such a laidback tune. I remember when Cardo used the same sample on Chevy Woods' "Chi-Town", and I loved that song. And Mike WiLL's sample flip was pretty good tho; in fact, one of my favourite instrumentals from him. Anyway, here, Q bigs himself up as he tries to chat to a girl, downing her cheating boyfriend. It's a funny and smooth ass song, as once again, it's a moment where Q floats over the beat like it's nothing. One of my favourite songs on the album.

7. Tookie Knows (Interlude)
A grimy ass interlude, which I would've loved a lot if it was longer and had a verse from Q. Soul does some nice background adlibs tho.

8. Raymond 1969
Aight, now this one! THIS ONE, I'M DIGGING! Sounwave & Dave Free provides such a gritty banging instrumental for Q to snap, and the Portishead sample flip is amazing. Here, he references a gang's beginning stages in the title, paralleling this as he explores his beginning gangsta stages in his life. Recalling events that involved murder and drugs, it's a standout that explores his life like never before.

9. Sexting
For somewhat reason, the sample reminds me of Nelly Furtado & Timbaland's "Promiscuous". I don't know why tho, ha! But this is nice for what it is, a club banger for the ladies, and DJ Dahi on the boards with the heat. Compared to almost every song, this is mid.

10. Grooveline, Pt. I (feat. Dom Kennedy & Curren$y)
When I first heard this, I didn't know how I feel about it. Then I heard Mick Jenkins' "The Leaves", a remix of this same song with a beat reminiscent of 9th Wonder (it was actually produced by OnGaud). Revisiting this song around 3 years after that was a breeze. I appreciated this song a lot more, plus the fact that Q actually linked up with bloody Spitta! Anyway, this is one of the smoother cuts on the album, sampling Marlena Shaw's "Feel Like Making Love" (also sampled by Ktoven for TUT's "Highs & Lows"). Lex Luger ditches the drums and I love it as all 3 provides some nice verses to seduce their girls. Q starts off nice as usual, Dom was great, but I loved Curren$y on this. You know these type beats are his cup of tea, he was floating! But yeah, this song is wavey as hell, man; on some player shit. Just something to vibe out to in the nighttime and all that.

11. Gangsta in Designer (No Concept)
Aight, so this is one that doesn't really fit the theme as the bracket title suggests, but it's still one of my favourite songs on the album. Taking its drums from Quincy Jones' "The Hot Rock (Main Title)" (like Eminem did for "Like Toy Soldiers"), Q doesn't rap about much, just his bullshit about hoes, weed and clothes. It's your usual topics, but sounds so good with the cocky flow and banging beat. Not even the hook connects with the verses. For something that's all over the place, it sounds pretty good.

12. How We Feeling
A boring ass interlude, basically. Nothing to see here. NEXT!

13. Druggys wit Hoes Again (feat. Ab-Soul)
Originally titled "Extra Pills", Q & Soul are back with a sequel to the Setbacks standout. Unlike the first, this one is more of a club banger revolving around partying rather than chilling and smoking weed. And the chemistry between the two is a lot better here than before, the flow is on point, and the lyrics are way better. Plus, it seems that they've really improved, with more better verses. I'm not even sure who washed who. They were both energetic, with better flows and lyrics. Finally, that bassline! Nez & Rio, man. Another fire song.

14. NigHtmare in Figg St.
Back to the grimy shit, as Q snaps over this A$AP Ty Beats instrumental, giving a dark setting about how things used to go down in Figueroa Street, where he used to live. The hook echoes the Setbacks intro "Figg Get da Money" and I love it. It's not the best song but I appreciate how it adds onto the album's theme.

15. My Homie
I didn't even remember listening to this song the first time. But during my second listen, this ended up being probably the best song on the album. I didn't even know Alchemist produced this shit at first, I had to check Wikipedia as I wrote this. Here, Q reflects on a past friend he grew up with and was close to, but turned into a snitch. It's a pretty intriguing song, and Q flows over this nice, reflecting on his past times with his friend. Al's beat is amazing, as usual, that white boy doesn't disappoint on the boards!

16. Blessed (feat. Kendrick Lamar)
Another standout from the album, as Q gets emotional about past events and his friend losing a son. He realises that through all of this, he's still doing well and is blessed with success. Kendrick appears with a verse and he does his thing, it's a fire verse as usual and he murks it! The beat is... something weirdly intriguing, it's been 5 years and I still feel that it's such a dope and interesting ass beat. One of my favourite songs on the album.

17. NiggaHs.Already.Know.Davers.Flow
Q ends this album weirdly with a song that has a rhyme scheme centered off the phrase "Niggas already know". It can get annoying for some, but I enjoy it, being on his cocky shit as the beat bangs out hard!

The following is a bonus track:

18. 2 Raw (feat. Jay Rock)
Probably one of the most memorable songs on this album. I absolutely loved this ever since my first listen. Jay Rock is the final TDE member AND guest appearance on the album, linking up with Q for such a banger. Q did his thing during his two verses, and the hook is fire. But Jay came through and ripped this song into pieces, he was on point with it! The beat is nuts too, props to Tae Beast. Another one of the best songs.

Curren$y - This Ain't No Mixtape

Released: April 21, 2009

Curren$y is a known veteran in the rap game, dropping heat consistently, whether it's an album, mixtape, EP or just one song. Although he has never broke into the mainstream fully, he had gained a lot of buzz with his projects, having a fanbase of hip-hop fans and stoners that anticipate his work. The New Orleans rapper's first breakthrough was when he was a new member of 504 Boyz in 2002, signing to Master P's No Limit and appearing on his labelmates' albums. By 2004, he'd leave the label and sign to Lil Wayne's Young Money imprint, having a guest appearance on Birdman and Weezy's projects. He remained with the label til late 2007, moving on to do his own thing.

At this time, Spitta had yet to drop a freakin' debut, and made a name for himself by putting out mixtapes. He had only released 3 mixtapes while with both No Limit & Young Money, but, after leaving, had one of his most consistent and productive years in 2008, releasing a number of tapes including Independence Day, Fear and Loathing in New Orleans, Super Tecmo Bowl, Fast Times at Ridgemont Fly and Fin.... It was in 2009 that he calmed down with the amount of projects he was dropping, as he was finally working on his long awaited debut.

Appropriately titled This Ain't No Mixtape, the album was released digitally in April 2009, being the first of two albums released from him that year (the other being Jet Files in October). It features 16 tracks, entirely produced by Monsta Beatz, with guest appearances from Dee-Low, Jean LePhare, Trademark, Young Roddy, Bun B and more. It would later have a physical release two years later in June 2011.

Let's get into it.

1. The Briefing

Spitta starts off this album with a little monologue setting up the mood. He lists off the mixtapes he had released in the past year, before declaring that this project isn't a mixtape. He talks for a long time tho, and it's easy to think this is nothing but your average rap album intro, but he does spit a little verse 2 minutes in. It's a decent cut, opening up the album very well.

2. Get It Ya Self (feat. Dee-Low & Jean LePhare)

I remember at first, I wasn't sure how to feel about this song, but this is dope. Dee-Low & Jean LePhare come through with the hook over a chill, funky, elevator music-like beat from Monsta as Spitta provides 3 solid verses, with his usual lifestyle rhymes. I absolutely love it, and the vibe is just so relaxing. One of my favourites already.

3. Blown Away

At first, before my official listen, this and "Elevator Musik" were the only songs I checked out from the album. And this was a standout. The vibe was too wavey on this, and Spitta rode over the beat like a beast. Years later, this song is still a breeze. The hook is just catchy as hell, even if "Blown Away" is said so many times. Curren$y really came through on this one!

4. Scared of Monstas

This beat is nuts, man! Monsta killed this one. Spitta was alright on this one, I guess, this was one of the moments where he didn't impress me too much. It's still a solid cut tho.

5. Elevator Musik

One of the first songs I've ever heard from Curren$y, and it's still a tune! Over a smooth beat that samples Ahmad Jamal's "Sustah Sustah", Spitta spits his usual lifestyle rhymes, about his cars, weed, elevators and also mentions his former labels No Limit & Cash Money. The hook is one of my favourite moments on the album, and it gets me vibing to the fullest. I was like 10 when I first heard this shit, around 2011. It's 2017, I'm 16 and I still love it.

6. On My Plane (feat. Dee-Low)

A chill track to ride out to, with your typical hook from Dee & Jean. This was alright. Not a standout, but still nice.

7. Sixteen Switches

I remember checking this song out after hearing the second part on New Jet City, and I didn't care about it too much. But listening to it now, this song is a freakin' gem! Spitta really rode on this beat like never before. Not even some of the standouts see Spitta on such a vibe like this. The hook is amazing, and the production screams "Summer" so bad. I'm even nodding my head to this as I write this. Forget the rest, this is the best song on the album.

8. The Jet-Sons (feat. Dee-Low)

I only heard this song once and hearing it the second time had me singing the hook. This is how memorable this song is. Spitta comes through with some solid verses, and the hook is such a moment on the album. Dee-Low actually raps on this instead of just providing a hook, and he's actually... alright on this. He ain't the best but he did his thing on it, I guess. Overall, I fux with this. Another one of my favourites.

9. LOL (feat. Trademark)

Another nuts instrumental from Monsta, as Spitta & Trademark da Skydiver link up for such a standout. Curren$y's flow on this was on another level, and he killed it. Trademark did his thing on this, and I liked it. The hook was trash tho, and this is one of the moments where Dee & Jean disappoint. Doesn't make the track worse tho, as both Curren$y & Da Skydiver go back and forth for some time and it's nice.

10. Sail On (feat. Young Chris)

Young Chris is the next guest on the album for such a Summer jam on the album, and both him & Spitta do their thing. I think Chris did better on this one than Spitta, and so far on this album, Spitta has outrapped his guests. It's nice to hear both of them on this tune, and they ride on the instrumental so well.

11. Got It

This song so laidback, and I absolutely loved it. I'm gonna say the usual here. Good rhymes, nice beat and flow, ha! NEXT!!!

12. Power Button

A more spacey feel compared to the rest of the album, but you can still ride or get high to it. Spitta comes through with some solid rhymes and a nice hook, as Monsta provides a chill/space-like instrumental which I absolutely love. One of my favourites, which gets better with every listen.

13. Up Here (feat. Young Roddy)

A nice tune, but compared to the rest of the songs, it's alright. Spitta did his thing and I liked Roddy on this.

14. Cook Up (feat. Bun B & Dee-Low)

One of my favourites on the album, with a slow Down South feel, as the legendary Bun B links up with Spitta. Dee-Low provides an annoying hook tho, but the rest of the song is alright. Curren$y is nice on this, but Bun had the upper hand here. He snapped! The beat is a banger, and both Spitta & B flowed over this beat smooth AF.

15. Food 4 Thought (feat. Mickey Factz & Amanda Diva)

A more funky cut to vibe to, and it's another standout. Spitta gets Mickey Factz and Amanda Seales/Diva for this, and they all kill it. Spitta starts off fine, but Mickey really murked this. And Amanda did alright on this. Her flow was nice on this, reminded me of some old school jazz. But obviously, Curren$y had to come back for another verse, he didn't want Mickey to wash him. And yeah, he did absolutely better on this verse, I fux wit it so much. The hook gives such a relaxing vibe, and the samples Monsta used for this shit were fire. Love this song.

16. Galaxy (feat. Jean LaPhare, Dee-Low & Whodinsky)

The album concludes with a chill R&B like cut, that uses the same sample as a rare J Dilla beat. Here, Curren$y tries to seduce his girl, as Jean LaPhare provides a nice ass hook to set the mood. To even make it better, Whodinsky acts as a show host, giving props to Jean, Spitta and the band; and it even sounds like he's concluding the album. This song is so laidback, that bedroom music and all. I love it!

Final Thoughts

Going through this for the first time, I expected This Ain't No Mixtape to be mid. But this is actually pretty good. The album is an hour of audio dope aka fire lifestyle rhymes, chill production, mainly memorable hooks and impeccable flows.

Spitta's subject matter throughout the album is pretty limited, which isn't a bad thing, the production and laidback flows really make his rhymes sound better than ever. For a lot of people, being repetitive isn't the best thing. But this guy been making the same music for almost 10 years and still sounds great. Anyway, the album is still pretty good. Songs like "Blown Away" and "Elevator Musik" see Curren$y rhyme about his cars, weed and money. It's generic topics yet sound so good, and the hooks make it even better. 

He switches the vibes up tho, and I enjoy it. "LOL" is a lot more hardhitting and aggressive in comparison to most of the album, as Spitta & Trademark provide fire verses. While the hook from Dee-Low is mid, it doesn't make the track worse or anything. "Power Button" has such a spacey feel, and I love it. It takes you to a higher level compared to the rest. "Get It Ya Self" has some slight 90s vibes with the sample and the beat kickin in. Spitta rides through the beat so well, and this song also features one of Dee & Jean's better hooks. Songs like "The Jet-Sons" and "Cook Up" create a clear Southern vibe. Their banging instrumentals make it something to easily ride to in the Summer or get high to. And "Galaxy" is a smooth R&B cut which sees 

When it comes to the features on This Ain't No Mixtape, Spitta uses them appropriately most of the time. Dee-Low & Jean LaPhare come through with some solid hooks on songs like "Galaxy" and "Blown Away". Not only does Dee provide a pretty catchy hook for "The Jet-Sons", but his verse isn't actually that bad. And I loooooveeeeed Jean's hook on "Galaxy", it really added a lot to the chill and smooth vibe of the song. It was alright, although he's better on hook duties. His contribution on "LOL" was shit tho, but luckily, Trademark comes through, linking up with Curren$y for an aggressive standout. The legendary Bun B killed his verse on "Cook Up", I enjoyed it so much and he really made the song better, not that it was trash tho. Mickey Factz was a beast on the funky "Food 4 Thought" and Amanda Diva did a decent job too. Although "Up Here" wasn't necessarily the best song, Roddy did his thing on it and impressed me slightly, to be honest. 

Finally, I gotta give it up to Monsta Beatz, cos his production was real fire. Being consistent with the beats, providing such heat to ride, vibe out or some to. He really delivered with the range of vibes. He killed "Elevator Musik", flipping that sample so well. "Sixteen Switches" is one of my favourite instrumentals on the album, with such a Summer vibe. Spitta freakin' floated on that. "Food 4 Thought" was on some funky shit, Monsta was on one, man! One of the best moments on the album, where the album's vibe switches up. Even "Get It Ya Self" reminded me of some 90s hip-hop, especially considering the sample.

Overall, This Ain't No Mixtape is pretty solid. A great piece of work that shows Curren$y at his finest during his early Jet Life years. The vibes are there, the bars are tight, the flows are on point, Spitta floats all over the album effortlessly, and the features do their thing. Is it my favourite project from him? Nah, but it is what it is. Classic Spitta that gets me vibing.

Recommended Tracks

Sixteen Switches

Blown Away

Elevator Muzik

Food 4 Thought

The Jet-Sons

Power Button

Cook Up

Get It Ya Self

Sail On

Galaxy

9th Wonder - The Dream Merchant, Vol. 1 & 2

I think it should be acknowledged that 9th Wonder is one of my favourite producers of all time. Anybody can name J Dilla, Kanye West, DJ Premier, Timbaland and Pharrell as their top 5 when it comes to hip-hop production. But 9th is one that deserves to be mentioned with some of the legendary beatmakers. I remember first hearing his production on Christian rapper Lecrae's mixtape Church Clothes; on the two standouts "Rise" and "Long Time Coming" with Swoope. But I never dug deep into his production discography until coming across Little Brother's "Lovin' It". Consisted of Phonte & Rapper Big Pooh, 9th was their main producer for their first few years of their career. Their first 2 albums The Listening & The Minstrel Show are still some of my favourite albums to listen to anytime. 

After the critical acclaim of The Listening in 2003, LB decided to make their solo albums. Phonte hooked up with Dutch producer Nicolay to form The Foreign Exchange and recorded their debut Connected in 2004. Rapper Big Pooh released Sleepers in 2005, with production from 9th, Khrysis, Big Dho and Nicolay. But in the same year, 9th released the first volume of his Dream Merchant series.

Released: 2005

Dream Merchant, Vol. 1 is a compilation of 9th-produced tracks, which were recorded God knows when, probably from the late 90s to 2005. The effort features 16 tracks from underground artists such as Keisha Shontelle, Phonte, Rapper Big Pooh, Median, Joe Scudda, Logic (not the white rapper), and even a knocking instrumental from 9th himself.

Is there really anything else to say? Let's get into it!

1. A Letter to Sick L (1980-2001) [performed by K-Hill & Keisha Shontelle]

The title says it all, as K-Hill dedicates the first song on the album to a friend who sadly passed away 4 years before the album release. He reminisces about the times he had with him, and how he used to be like. It's a heartfelt song, and it's great to hear him reminisce and continue to remember his friend for everything he had done. Keisha Shontelle was alright on this, her singing was eh, to be honest, but still added onto the track well. A solid starter to the project.

2. Just Don't Speak [performed by L.E.G.A.C.Y., Joe Scudda & Rapper Big Pooh]
Leg, Joe & Poobie hook up for a banger that samples a classic song from WAR. Here, all 3 artists talk about fake rappers and friends that they just want to be quiet and listen. They all deliver, especially Pooh. He really came through. Scudda was solid too, but Leg was shit, to be honest. This was the first song I listened to from the album, and it never gets old, always on repeat. One of the best songs on the album!

3. Median Alleviates the Drama [performed by Median]
Originally from Median's The Path to Relief EP, Median reflects on the streets and struggles, and wanting to get out and make a living for himself. It's probably my favourite off the album, and the content is very interesting. Plus, I love 9th's flip on the sample, it's just freakin' amazing, always makes you wonder how he did it like that.

4. Speed [performed by Little Brother]
We should all know this song by now. Taken from The Listening, this song still gets some plays from me to this day. It bangs hard, man! I don't know why I said on my Listening review that this song was alright and didn't stand out, cos anytime this comes on, I be bumping my head non-stop. That's one of the best songs on that album. Damn, my reviews sucked when I first started, ha!

5. The U-Express [performed by Defcon]
This is probably from the early days as Defcon is actually Sean Boog, before he changed his rap name. But yeah, this is a slow thought-provoking song as Def reflects on the street life and gives life lessons in 2 minutes. It's a decent song, Def's delivery is a bit mediocre and doesn't capture my attention too much. And this is one of 9th's more average beats, in my opinion. Anyway, let's move on.

6. My People [performed by Yung Love Joy & Logic]
Yung Love Joy & Logic (of Tyfu) hook up for an anthem for those in the hood. It's another thought-provoking and introspective song, that takes the listener through the streets and they both touch on their experiences, including police, guns, struggles and more. Both rappers deliver solid verses, and 9th's beat is a smooth one. A great cut from the album.

7. Fallen [performed by Chaundon]
Probably the only solo I've ever heard from Chaundon. His features have always impressed me, including Phonte's "Boondock Saints" and Little Brother's "The Honourable", but never got into the rest of his catalog. Anyway, this song is a sombre and personal song, which touches on his struggles, including family issues, school, money as Chaun believes his life is falling and he's getting in a deeper hole. Unlike the features I've heard from him, where he was aggressive and confident, Chaun sounds a lot calmer and chill, and this beat is probably one of the more laidback ones on the album.

8. Mr. Dream Merchant [performed by Rapper Big Pooh]
A standout from the album, which I absolutely loved on my first listen. 9th samples Four Tops' cover of Glen Campbell's "By the Time I Get to Phoenix" as Pooh plays the role of Mr. Dream Merchant, a character who sells dreams to people, who end up being disappointed when they get it. These concepts are explained in his two verses very well, and 9th's flip of the Four Tops sample is bloody amazing. Pooh kills his verses with his delivery, touching on the concepts and dreams impressively. Considering most of the songs so far have been about struggling and street life, it's probably the most creative song on the album, and I love it!

9. Almost Genuine [performed by Defcon & Phonte]
A laidback song, which starts off with a vocal bite from Prodigy's Infamous prelude, as both Defcon/Sean Boog & the legendary Phonte hook up for a killer joint. Def was aight, nothing that memorable, but 'Te murked the beat. He was flowing like a beast. Nobody in the Justus League were shit compared to Phonte. But when both rappers went back and forth, they did their thing, man. Def actually sounded a lot better than before. Overall, it's a mid song that was saved by Te's presence, to be honest.

10. Strained [performed by Keisha Shontelle & Cuss]
Keisha Shontelle gets her own song this time, instead of providing hook duties. And actually, this isn't all that bad. She gets her time to rap too, as she stresses out about her life and the things she sees. And she does well, I love her voice. She's a lot better when she sings. But Cuss comes through with a verse, and honestly, he's a lot more impressive than Keisha. While this is a solid song, it goes on for long. 5 minute songs can be the best, but the hook could've been shortened if you ask me.

11. Third Person [performed by L.E.G.A.C.Y.]
Leg gets his solo, and DAMN! I never expected this to bang out that hard. For goodness sake, 9th! That's really the only good thing about this song, I couldn't catch on with Leg like that. Never really liked him like that, his voice wasn't the best and his verses were mediocre most of the time. He did aight on "Flash and Flare" but even he had a bloody shit line, literally ("I'm diarrhea, nigga, you ain't ready for this shit" FFS L.E.G.A.C.Y!)

12. The Addiction [performed by Defcon]
Another Def/Sean Boog song, and the beat is way too similar to "The U-Express", mainly the bassline. I can't lie, 9th's production wasn't the best on some of his work with Sean. This was a lil boring, and Def was rubbish on this one. Sorry, not sorry.

13. Like Dat [performed by Phonte & Cesar Comanche]
A killer song that dates back to 1998 on a demo tape actually, when Phonte was 19. This was all before Little Brother came to fruition. Here, a young and aggressive Te hooks up with Cesar Comanche for what sounds like a freestyle over a rough beat that samples the famous Esther Phillips' "It's All Right With Me". A lot of producers flipped that sample very well, but none can compare to Havoc's flip on Mobb Deep's "Give Up the Goods (Just Step)". Anyway, 'Te rips that beat and sounds amazing on it. His flow was sick on it, and he was snapping, Goddamnit! Cesar did his thing too, he actually wasn't that bad on it. But when you're on a song with Phonte, you ain't shit compared to him. Only rapper that has kept up with him is Big Pooh, to be honest. Nevertheless, this is another one of my favourite tunes on the album.

14. Soul Dojo [performed by Kevikaze]
Starting with a bite from The Karate Kid, Kevikaze comes through with a sombre song about growing up strong and hustling in the streets. He learns to protect himself and his body like a temple. It's one of the better thought-provoking cuts on the album.

15. The Righteous Way to Go (Instrumental)
A soulful banging instrumental from 9th, sampling a classic Curtis Mayfield tune ("The Makings of You"). There's not much to say about it, I just absolutely enjoy this instrumental so much!

16. Too Late [performed by Phonte]
The album ends with a solo Phonte cut. After appearances on the album with other rappers (Big Pooh, Cesar Comanche & Defcon), 'Te takes his time to brag about everything, how he spits fire and raps better than these wack MCs. It's a great and impressive song as Te just snaps like a beast. Another standout, and such a fire ending to an album.


Final Thoughts
I remember when I wanted to go through this album 2 years ago when I first got my PS4 on my birthday. I was 14 at the time, and I only bumped the two songs. I never had time to listen to everything else. As time went by though, I started to bump a selection of tracks from the album including "Like Dat" and "Mr. Dream Merchant". But now that I had the time to check everything out, this album was mid. Average. Meh! Maybe because I was typing this at night and I was tired, but this wasn't what I expected.

Dream Merchant, Vol. 1 was mainly saved by the production of 9th and even some of his beats were boring. This was a compilation of jams that were rare/unreleased or at the time, recent; so I can allow 9th with some of his mid joints. Apart from the selectives I was listening to before I checked the album in full, most of the songs hardly have any replay value. Defcon's "The U-Express" and "The Addiction" sounded dated for 2005, so I can see it as early jams from the late 90s. It was obvious 9th's beats had room for improvement here, and his work with Def wasn't exactly fire. "Almost Genuine" was saved by the presence of Phonte, and Def was decent, I guess. The only good thing about "Third Person" was the beat, and that's the main reason why it got some replay value. L.E.G.A.C.Y. sounded average on it, although his flow was nice.

The album had some solid/decent songs that aren't necessarily standouts, but aren't bad either. The intro, "A Letter to Sick L" is a smooth cut where K-Hill reminisces about his old friend and the times they had together. "Fallen" is a deep cut from Chaundon, touching on the struggles he faces and how he feels his life has gone downhill. "Strained" is a dark and sombre tune where Keisha Shontelle & Cuss rap/sing about their pain and stress as they live life. "My People" is a song that takes listeners through the hood of Yung Love Joy & Logic as they explain how they live.

The best songs are really the ones where either 9th flips the sample so amazingly or the rappers just happen to snap so hard on the beats. "Just Don't Speak" is a banger, which doesn't disappoint. Although L.E.G.A.C.Y. had a mid verse, Joe Scudda & Big Pooh did their thing, especially Pooh. "Like Dat" is a killer tune and both Phonte & Cesar Comanche snap over that beat. "Too Late" is a funky bop and the hook sample is so damn catchy. Phonte kills it on this track too, and 9th's soulful instrumental is one of my favourite moments on the album. "Soul Dojo" is actually pretty good, and this was one of the most impressive thought-provoking cuts, as Kaze raps about growing up strong and protecting himself. Plus, 9th's beat was A1. "Median Alleviates the Drama" is such a killer. Not only did 9th flipped that sample wonderfully, but Median really delivered with his verse. Him & 9th on a track never disappoint, to be honest. "Mr. Dream Merchant" is the most creative song on the album, as Rapper Big Pooh plays the titular role, selling dreams that people would later end up being disappointed in. Just like "M.A.D.", this is another one of those moments where 9th flipped the used sample in such an incredible way.

Overall, the album is pretty mid. Nothing more, nothing less. Most of my favourite songs are the ones that I've been banging out long before I really went through the whole album, but everything else don't really stand out to me like that. If you wanna know what songs are best to listen, just look below...

Recommended Tracks
Median Alleviates the Drama
Mr. Dream Merchant
Just Don't Speak
Like Dat
Too Late
The Righteous Way to Go
Soul Dojo

Now, let's move on!

Released: October 9, 2007

As each member released their individual solo projects, Little Brother continued to have critical success from their debut album The Listening. After the release of Dream Merchant, Vol. 1, the group inked a major deal with Atlantic. September 2005 saw the release of The Minstrel Show, a concept album set in a minstrel-show airing on a fictional network called UBN, which touches on many topics such as the industry, personal issues, their careers and much more. Fast forward a few months later (March 2006), and we saw a mixtape of all-new material: Separate But Equal, hosted by DJ Drama as part of the Gangsta Grillz series. However, in 2007, three became two as it was announced 9th Wonder would be leaving Little Brother to pursue his solo producing career. It was clear he was the breakout member of the group, contributing to albums from big names such as Jay-Z, Lloyd Banks, De La Soul, Destiny's Child, Mary J. Blige and more. 9th didn't have any issues with Phonte & Big Pooh as he still continued to collaborate with them on a few more songs.

In October, 9th released The Dream Merchant 2, the sequel to the 2005 compilation. The album features 18 tracks, and unlike the first volume, which was a compilation of underground local artists from North Carolina, this volume gathers appearances from a range of artists, both underground (Skyzoo, Big Remo, Little Brother & Justus League) and well known (Mos Def, Sean Price, Buckshot, Camp Lo & Royce da 5'9"). The album was actually an introduction to female North Carolina rapper Rapsody, who was heard rapping on interludes in some of the songs on the album. These interludes used samples that 9th had previously used for songs like the Little Brother cuts "Shorty on the Lookout" and "Let It Go". Rapsody would later sign to 9th Wonder's Jamla imprint, and also receive a guest appearance on Kendrick Lamar's To Pimp a Butterfly.

SPOILER: This is way better than Vol. 1, and you'll know why as we go through this.

1. Mr. Dream Merchant (Intro)
Nothing to hear, just your typical rap album intro. It's basically a little bite from Jerry Butler's "Mr. Dream Merchant". And no, 9th didn't add a beat to it. Moving on...

2. Shots [performed by Big Dho & Sean Price]
We already get in to the album with a bang. I've never heard Big Dho rap before, he's always been known to be behind the scenes, managing the Justus League and all that. This time, he gets on the mic with the legendary Sean P on a soulful banging instrumental from 9th. Dho was actually not that bad on this track, he held his own pretty well. But Sean really came through with his bars, he killed it as usual. Plus, I love the hook. I hardly give hooks some acknowledgement, cos they're not always the best. But it's always good for me to rap to this one. We then hear Rapsody on her first album interlude at the end of the song, and she does her thing on it. The sample flip is aight, it's probably the most boring flip of all the interludes. But yeah, overall, I love this song. Already a favourite from the album.

3. Merchant of Dreams [performed by L.E.G.A.C.Y., Skyzoo, Torae & Chaundon]
A posse cut that I fell in love with on my first listen. The EMBASSY and the Barrel Brothers. It's freakin' fire! All 4 come through with such impressive verses on the banging ass beat, and surprisingly, Leg actually held his own on this one. Normally, he'd sound average or just plain shite, but he can spit a few nice verses here. I personally enjoyed Torae & Skyzoo's verses on this one, although Leg & Chaun delivered as well. I loved the beat too, it's so chill and laidback with that soul sample, and the drums makes it even better!

4. Brooklyn in My Mind (Crooklyn Dodgers III) [performed by Mos Def, Jean Grae & Memphis Bleek]
9th continues the Crooklyn Dodgers series after 12 years, selecting a trio of rappers to create what is basically an appreciation to their hometown of Brooklyn. As you all know, the other two Crooklyn Dodgers installments are classics, with Premo & Q-Tip providing dope instrumentals for their trios, which included legendary rappers such as Buckshot, Jeru the Damaja & Masta Ace. This installment features Mos, Jean and Bleek. On its own, this song is pretty good. I love the sample, the drums bang hard as hell, plus the scratches add on to the track so well. Each rapper delivers a solid verse, with different moods each. Mos' verse was nice and Jean's had a very interesting and powerful mood as she reflects on how she became a strong and confident woman in Brooklyn. Bleek's verse is a lot more different, touching on the dark side of Brooklyn, and how the streets can be dangerous. All three sound great on there, and I love the different vibes they create with their verses.

5. Sunday [performed by Keisha Shontelle & Chaundon]
A great, positive song dedicated to the special day that is Sunday, and I abso-freakin-lutely love it!!! That's the best thing I can say about this song. Oh yeah, and Rapsody killed her interlude at end too.

6. Baking Soda [performed by Big Treal]
This one a straight banger, that actually is the most interesting and creative song of them all. Here, Big Treal spits three verses which tell a morality tale about drug dealing. The character had came into the drug game for the fast money, trying to make a living for themselves. However, as he gets with the dealing, his freedom is lost, and the final verse explains it fantastically, with amazing metaphors and flow to help get the point across effectively. It's wonderful, and 9th's sample flip on the instrumental makes it even better. One of the best songs on the album.

7. Reminisce (Take Time) [performed by Big Remo & Novej]
One of the more personal tracks on the album, as Big Remo & Novej dedicate their verses to old friends who they haven't spoke to in a long time. They hope to reunite and take time to reminisce about the old times. It's a great introspective song, with such a sombre and mellow feeling as both rappers try to tell their friends how they're doing now. It's another standout, which adds onto the diverse content and vibes the album has.

8. No Time to Chill [performed by Little Brother]
OH YEAH!!! A freakin' LB song, a great moment on the album. Even with 9th not being a member anymore, they still managed to secure a feature with such a banger. And they fail to disappoint. Phonte & Big Pooh go back and forth 8 bars each over such a menacing instrumental, with such impressive flow and lyrics. It's a Little Brother song, and you know they always come through.

9. It Ain't Over [performed by Jozeemo & Tyler Woods]
Always thought this was an average song. It didn't necessarily suck overall, but it never stood out to me. Hook was trash, and Jozeemo didn't impress me too much. That's just me tho.

10. The Last Time [performed by Royce da 5'9", Vandalyzm & Naledge]
Royce, Naledge & Van link up as the Midwest Wrecking Crew for a straight freakin' banger. I remember when I first listened to this album during one of my GCSE Drama rehearsals. I listening to the first half in the morning, second half in the afternoon. And when this song came up as I was walking to a bus stop, I didn't know how to feel about it. The hook was bloody off-putting, it was kinda shit. And the instrumental was... meh to me at the time. But all of a sudden, this song started popping back in my head, and before you know it, I was banging this out two weeks ago on a Sunday. This song is nuts, like absolute! Other than this shitty hook, everybody kills it, especially Royce. I enjoyed Van & Naledge on it too, and they had their sick bars to offer. Another one of my favourites.

11. Saved [performed by Saigon & Joe Scudda]
I remember I actually loved this song the first time I listened, but this is just decent. It's a song that I'm surprised that I hardly go back to, but really, it doesn't stand out too much. I love the heavenly ass sample on it tho, and Joe Scudda didn't do that bad on here.

12. The Milky Lowa [performed by Camp Lo]
OHHH SHIT, WOO WOO.... WOOOO!!! Camp Lo be coming through with heat. I loved their work, Uptown Saturday Night, Black Hollywood and even their recent shit. This song is just on another level. Geechi Suede & Sonny Cheeba really delivered on this and their chemistry was amazing. 9th's beat was banging as usual, and that sample was menacing. It's a song I enjoy listening to, and going back to. It never gets old. Oh yeah, and this features Rapsody's best interlude on the album at the end, she killed it.

13. Backlash [performed by Sean Boog & Buckshot]
I never thought I would like this song as much as I do now. Playing it the first time, I just thought it was good, nothing more, nothing less. Now, it's on repeat a lot more than expected, playing on shuffle no matter what. At this time, this was a collaboration between two generations. Sean Boog was new and underground, while Buckshot was a legend who made a name for himself in the 90s in Black Moon and the Boot Camp Clik. Anyway, this song is an introspective cut which sees both rappers reminisce about their times growing up, and having those who doubted him. Sean was nice on it, and I can't lie, he has definitely improved from his previous work as Defcon, but Buck stole the show here, with his verses about dancing at a young age and not wanting to be broke again. It's a nice cut and doesn't disappoint.

14. Thank You [performed by D.O.X & O-Dash]
D.O.X & O-Dash hook up for such a wonderful cut on the album. It bangs so hard, yet it sounds so beautiful. As the title suggests, the two thank those who have been a part of their lives, for better or for worse. This includes their family, haters, critics, friends, those in the hood and many more. The sample is amazing, and 9th flipped it so smoothly. And both rappers really flowed nice on this like it was nothing. Love this song.

15. Let It Bang [performed by Skyzoo & Ness]
On Thursday, I had my Year 11 Prom, celebrating the 5 years I spent at my school. I shuffled my playlist of bangers (appropriately titled "Let It Bang Hard!") on the way there, and this song came up before I got out the Uber car. And for somewhat reason, I appreciate this song way more than I did when I first heard it. I absolutely loved it on my first listen, but that song was in my head throughout the whole Prom night after banging it out. Anyway, Skyzoo links up with Bad Boy rapper Ness for another highlight on this, and they both kill it. Ness did his thing here, but Sky was on one with his bars. Plus, this is one of the moments on the album where the hook really stands out. I bloody loved it! There are actually so much standouts here, it's amazing.

16. What Makes a Man [performed by Rapper Big Pooh & Buddy Klein]
To be honest, with every listen, this song actually gets better to me. On my first listen, I don't remember myself liking this too much, like it didn't stand out compared to the others. But this is actually heat! Rapper Big Pooh & Buddy Klein come through with a soulful banging joint. They both do well, and while I mess with Pooh a lot more, Buddy murked this, and I was surprised. The hook reminds me so much of Little Brother's "Let It Go", mainly cos of the "ah-ah"'s that Pooh did. You already know the rest I'm gonna say: I love the sample, 9th flipped it well, the beat is sick, alla dat!

The following are bonus tracks:
17. Special (Remix) [performed by Strange Fruit Project & Median]
9th remixes the standout from Strange Fruit Project's 2006 album The Healing, now featuring a guest verse from Median. 9th had already blessed the original version with his beautiful beat, and now he's back to provide what I feel is the better instrumental, to be honest. And I freakin' loved the original. With the remix, there are a few alterations other than the different instrumental. Thesis' hook is omitted and replaced with S1's "So Special" vocal bite. Myth's verse is replaced with Median's verse, which is pretty good. I've been starting to mess with Median a lot more ever since his verse on The Listening cut "Shorty on the Lookout" and the Vol. 1 standout "Median Alleviates the Drama", and his verses haven't disappointed me one bit. As beautiful as the original is, I absolutely enjoy this version way more.

18. You Wanna [performed by NBS]
This beat reminds me of Rapper Big Pooh & Murs' "Now" off his album Sleepers, mainly cos of the knock at the beginning. Then again, 9th produced that song too. But NBS jump on this banger and they deliver pretty decently. The hook is aight, but the bars are there. I like it.


Final Thoughts
The Dream Merchant 2 is just... heat from start to finish. I had my problems with Vol. 1, as some of the rappers didn't impress me too much. But this is miles ahead, and it's almost like 9th knew he made mistakes with the album or something. I don't know...

Unlike the first volume, The Dream Merchant 2 isn't necessarily saved by 9th Wonder. In fact, not only does it feature some of 9th's best production, but a better range of rappers to help complement the songs, not just the Justus League. Boot Camp Clik rappers Buckshot and Sean Price murk their verses on their individual songs "Shots" and "Backlash". Camp Lo come through with fire bars on "The Milky Lowa". Mos Def, Jean Grae & Memphis Bleek link up for a Crooklyn Dodgers joint with "Brooklyn in My Mind" and they straight snapped on it. Skyzoo kills his verses on "Merchant of Dreams" and "Let It Bang". He was really one of the main stars on the album lyrically.

There were a few underground artists like NBS, Vandalyzm & O-Dash who had their solid moments too. "The Last Time" sees well-known Detroit rapper Royce da 5'9" completely murk the 9th beat, along with Van & Naledge. The hook is kinda trash, but the bars are definitely there. D.O.X & O-Dash take their time to thank the people that have been in their life on "Thank You", including the haters, family and friends. NBS actually was alright on "You Wanna", and they did their thing on that knocking ass beat. Big Remo & Novej try to reunite with old friends on "Reminisce (Take Time)" as they tell them how they're now doing. It's a smooth ass tune, and one of my favourites, showing a change in content on the album.

Most of the Justus League actually did a better job on this album. The EMBASSY aka L.E.G.A.C.Y & Chaundon came through with some fire on "Merchant of Dreams" with Torae & Skyzoo. "No Time to Chill" was another standout from the album, and Little Brother snapped on it. Big Dho's verse on "Shots" was decent, and he held his own with Sean Price. Sean Boog hooks up with Buckshot for "Backlash", a song that reflects on their early days before coming up, and also those that hated on him. Although Buck washed him, Sean did a pretty good job with his verses and flow. Keisha Shontelle sings about "Sunday", and what she loves about the day. It's a beautiful song and her vocals were A1 on this. Chaundon's verse was nice too. Joe Scudda did well on "Saved", Median had one of my favourite verses on the album with the "Special" remix, and Big Treal provided the album's most creative and interesting track with "Baking Soda", telling a morality tale about drug dealing and how it affects the person's life. The only bad song on the album is Jozeemo's "It Ain't Over". I didn't like the hook, and this was a moment where nothing impressed me, not even Tyler Woods' vocals or Jozeemo's bars.

Overall, I enjoyed The Dream Merchant 2. It was basically heat from start to finish, and there was hardly any bad songs. It's probably 9th's best album, in terms of production; The Wonder Years is a close second. If you're into banging beats, great content and lyricism, cop this. This is a solid piece of work, a better compilation than Vol. 1, and sounds so amazing. If there's any reason why I love 9th Wonder, this is why!

Recommended Tracks
Baking Soda
Special (Remix)
No Time to Chill
Backlash
Let It Bang
Thank You
The Last Time
The Milky Lowa
Reminisce (Take Time)
Sunday