One of the more “underrated” producers of our era is back. Durham, North Carolina producer 9th Wonder hit his loyal fans with another tape. He’s spent 2024 being the beat maker for underground rapper Hus KingPin. Additionally, he collaborated with a fellow instrumentalist, Give Em Soul, for a lax and soulful jazz tape back in late September. But for this release, 9th Wonder is going solo and returning to a long-running series in his discography. It’s the Zion saga, which saw its inception back in May 2016. Since then, the prolific talent has gotten the total up to nine, at least until recently.
Zion X is now the latest to arrive, and it’s one of the longer in the collection. It stands at 32 tracks, good enough for a two-and-a-half-hour-long runtime. There are occasional features peppered in, with fellow North Carolina rapper Seattle’s Key the one that pops up the most. As for the sonics on this record, 9th Wonder is tapping into some jazzier compositions again but mixing in some boom bap and East Coast-like productions. There are also some stellar soul chops going on, with “YOU CAN DO IT” and “BABYFLOAT” having some of the best. Check out 9th Wonder’s latest offering with the link below.
It’s been done! Conductor Williams finally (somehow) has his first rapper/producer project out as of Halloween, Conductor We Have A Problem, Pt.3. It’s the third entry into this series and first since around this time last year. Also surprising is that the Missouri producer wasn’t able to find a distributor for this project. So, he wound up having to fund it himself. For that we are so grateful to have this project in front of us. Overall, this is just a celebratory moment for one of the most consistent in the game.
But this album isn’t just here for kicks, it’s out to show just how talented of a curator he is. For the most part, Conductor Williams succeeds with most of the features holding up their end of the bargain. Rome Streetz, the duo of Wiz Khalifa and Benny The Butcher, as well as Elijah Hooks are some of the standouts. In terms of what Williams is giving listeners, there’s the usual and reliable dark boom bap instrumentals. Additionally, you will hear some hints of R&B thanks to the collaborations from Leon Thomas and Russ to some extent. To no surprise, the former of the aesthetics fare better. All in all, it’s great to have Conductor We Have A Problem, Pt.3 and we hope that the next will one will be even better.
As far as killer posse cuts this week, Elcamino brought on a great team for the new single “No Fighting.” Moreover, he’s lyrically assisted by Boldy James on the cut, with production from fashion brand and music collective Real Bad Man and in collaboration with Camino’s Black Soprano Family label headed by Benny The Butcher. BSF has led to many great projects in the past few years such as They Spit On Jesus, whereas Boldy’s history with RBM is exemplified by some excellent LPs and EPs. As such, it’s no wonder that this track ends up feeling cohesive, full of chemistry, and like another great effort from everyone involved.
As far as the production, it’s a bit more old-school and deliberately boom-bap-inspired than some of Griselda’s affiliates’ more popular, drumless work. Nevertheless, the MCs here are able to glide with ease on the beat, accentuated by a ghostly, organ-like keyboard notes hanging in the background. Occasional vocal sample chops structure out the loop a bit further, and the short length of “No Fighting” doesn’t feel neither barebones nor stretched out. As for the lyrical performances, Elcamino is a bit more lively and charismatic on here with some funny turns of phrase and more blunt lyricism. On the other hand, the “Live From The Roxy” spitter from Detroit comes across as more clever, calculated, and vivid when it comes to his word choice, descriptions, delivery, and punchlines.
Elcamino’s “No Fighting” With Boldy James, Real Bad Man & Black Soprano Family: Stream
Meanwhile, we’re sure that the Black Soprano Family will continue to pair up Elcamino with amazing MCs like the cut “We Here.” If you haven’t heard “No Fighting” yet, you can find it on your preferred streaming service and check out some standout bars down below. Let us know what you thought of the track in the comments section and, as always, stick around on HNHH for the latest great music drops around the clock.
Quotable Lyrics I could play the past block, because I’m a scrambler, I could mumble rap, but I’m not much of a rambler, Took my b***h from her ex, because he couldn’t handle her, So I went and made it hot like my lady fan don’t work
Chevy Woods has mostly been tied to Wiz Khalifa for the duration of his career. The two have collaborated many times before and it makes sense seeing as he is a Taylor Gang signee. The veteran MC is someone you go to for laid back raps and he is doing more of the same on his latest effort. The Pittsburgh, Pennsylvania spitter recently came by with his fourth project since the start of the 2020 decade. Chevy Woods’ 1998 is a concise 13-song listen with a handful of features.
If you take a peek at the tracklist, you will notice the titles evoke a certain time period. Sports fans were certainly pick up on the fact that these tracks call back to the time in which Michael Jordan and the Chicago Bulls would go on to win their last championship. It was also the end of their second three peat proving that even on wearier legs Jordan and the gang were able to succeed.
Woods is essentially doing the same on this project here. 1998 definitely has production inspiration from the 1990s with the heavy East Coast boom bap sounds. Woods captivates us right away on the “Intro” and continues to wow down the stretch. Be sure to give this a listen above.
What are your thoughts on this brand-new album, 1998, by Chevy Woods? What tracks are sticking out to you and why? Who had the strongest guest performance on the record in your opinion? Is this a top-tier Chevy project? If not, where would you rank it amongst the rest of his discography? We would like to hear what you have to say, so be sure to leave your takes in the comments section. Additionally, always keep it locked in with HNHH for all of the latest news surrounding Chevy Woods. Finally, stay with us for the most informative project posts throughout the week.
It is nearly impossible to discuss hip hop’s all-time greatest producers without mentioning Pete Rock. The New York-based beatmaker has crafted some of the most iconic hip-hop instrumentals of the 1990s and beyond. He has produced tracks for legendary acts like JAY-Z, Kanye West, Wu-Tang Clan, Run-DMC, and many of the underground’s finest MCs. Of course, he also is one half of Pete Rock & CL Smooth. Known for his traditional boom-bap instrumentals with knocking drum breaks and jazzy sample flips, Pete Rock has stuck to his New York roots. As a result, he continues to push hip hop’s foundational sound. Today, we are ranking Pete Rock’s 7 greatest productions from least to greatest. These selections draw from his extensive catalog of collaborative works, compilations, and instrumental albums. Take a look at the list below.
Considering Griselda’s impact on the resurgence of boom-bap production, a Pete Rock-produced Westside Gunn song is a perfect combination. On top of that, “The Steiners” features Elzhi, who starts the song with his impressive rhyme schemes. While Westside Gunn’s signature ad-libs never fail to stand out, it is the Pete Rock production that assists in making “The Steiners” its very own moment. A brilliant flip of Jerry Butler’s “Are You Happy,” the sample unexpectedly drops on the third beat of the simple percussion. Pete Rock gave swing to the downbeat soul record, transforming it into Griselda classic.
Pete Rock is known for his work for other rappers, but he also lets his beats shine on their own. Among his lengthy discography is a host of quality instrumental albums, the first of which is a classic. Released in 2001, the tracks on PeteStrumentals were recorded throughout the 1990’s. A PeteStrumentals standout and one of Rock’s all-time greatest beats is “Pete’s Jazz.” The track is quintessential Pete Rock, with its groovy bassline, jazzy melodies, and lively percussion. It progresses throughout its 5-minute runtime, adding and taking away instruments. “Pete’s Jazz” is not only the best instrumental song among the 4-album PeteStrumentals series, but out of his entire catalog.
Pete Rock’s production style sits comfortably within the tracklist of Rakim’s debut solo album, 1997’s The 18th Letter. The album saw Rakim rhyming over prototypical East Coast production from DJ Premier, DJ Clark Kent, and more. One of two Pete Rock beats on The 18th Letter, “When I’m Flowin’” contains some of Rakim’s best rapping and Rock’s best production. The piano-based boom-bap loop is simple yet effective as it creates the perfect backdrop for Rakim to spit bars with his effortlessly smooth flow. The beat embodies the New York sound of the ‘90s and is easily one of Pete Rock’s best instrumentals from that era.
Pete Rock has consistently created quality full-length albums with an assortment of rappers. One of his most recent and significant albums is 2019’s Retropolitan with Skyzoo. The album’s lead single delivers Rock’s timeless style of production as it sounds both fresh and nostalgic. The gorgeous piano melody cascades over the hard-hitting drum break, giving rap purists a taste of the golden era. The instrumentation highlights Skyzoo’s tough delivery and descriptive lyrics. While more modern than other classic Pete Rock production choices, “It’s All Good” is certainly deserving of a ranking among his best beats.
3. “Limitless” – Smoke DZA & Pete Rock Ft. Dave East (2016)
Arguably Pete Rock’s greatest full-length collaboration is his album with Smoke DZA, 2016’s Don’t Smoke Rock. Easily DZA’s magnum opus, the Pete Rock production brings the best out of him and his many collaborators. Don’t Smoke Rock includes many highlights, but “Limitless” stands out as one of Pete Rock’s most memorable beats. The Dave East-assisted track contains a prominent sample of Trio Mocotó’s “Não Adianta,” which Rock flips into an epic instrumental that drives the album’s blaxploitation-inspired aesthetic. “Limitless” illustrates how Pete Rock’s style of production may be synonymous with the 1990s, but has been able to transcend generations.
2. “They Reminisce Over You (T.R.O.Y.)” – Pete Rock & CL Smooth (1992)
Perhaps Pete Rock’s most iconic production and most notable track to come out of his work with CL Smooth is “They Reminisce Over You (T.R.O.Y.).” An all-time hip hop classic, the song’s instrumental contains some of the genre’s most iconic horns, over which CL Smooth displays his storytelling abilities. A significant song for jazz rap as a subgenre, the instantly recognizable instrumental on “They Reminisce Over You (T.R.O.Y.)” is one of Pete Rock’s most important contributions to hip hop and is one of his greatest productions. One could argue that Lupe Fiasco’s controversial repurposing of the song on “Around My Way” is better, but “T.R.O.Y.” has a legacy of its own.
Nas’s “The World Is Yours” is untouchable when it comes to Pete Rock’s production. The Illmatic classic is a hip-hop staple with stunning boom-bap production. The piano-based melody and thumping drum break are not just enjoyable but are especially significant in the context of the boom-bap sound of the East Coast. An iconic moment on one of hip hop’s most celebrated albums, “The World Is Yours” remains fresh almost 30 years after its release. Nas and Pete Rock’s current relationship with each other and this song is a contentious one, but their 1994 collaboration is easily Rock’s best and most impactful production.
Q-Tip has always existed outside of the traditional sonic tropes of hip-hop. Sauntering around in a button-down t-shirt and a flat-capped fedora, his jazz-induced persona surmounted the hip-hop status quo during A Tribe Called Quest’s initial rise. That sort of oddball appearance has pierced through the succeeding decades of the peak of his relevance, influencing modern-day acts such as Tyler, the Creator. In fact, Tyler credits Grammy-winning Call Me If You Get Lost as being directly affected by the career of Q-Tip. “[He] was the weird backpack ni**a that put this album out where he was like, ‘Hey y’all, don’t get it twisted. I’m f**king whoever, I’m driving whatever, I’m doing whatever,’” he said during his recent appearance on Rap Radar. “And without that album, Call Me If You Get Lost wouldn’t exist, so thank you, Q-Tip, for setting the blueprint.”
Tyler is certainly right. Q-Tip was that weird, introspective figure in hip-hop that pushed its sound beyond James Brown sampling or looping sonic collages. Instead, a young Kamaal Fareed was crate-digging for jazz records in Queens, New York. Q-Tip’s music directly reflected his childhood influences with his father collecting jazz playlists while his mother danced to the blues. Initially, that interest manifested in the form of his writing. From inscribing stories to singing at church on Sundays, he was unconsciously laying the groundwork for his influential career.
A Tribe Called Quest Shifted Conventional Hip-Hop
Similar to many other Big Apple MCs, his concrete interest in hip-hop began at electric block parties. Jumping around to Grandmaster Flash joints, it would be another decade until he met eventual A Tribe Called Quest members Ali Muhammad and Phife Dawg. Existing on a foundation of taking non-conformist risks, the trio began their embarkment with 1990’s People’s Instinctive Travels and the Paths of Rhythm. Q-Tip was rapping about veganism, domestic violence, and imaginary French conquests amid unheard-of jazz chord progressions. Nothing about the art was traditional, yet the eclectic trio quickly moved to the top of the rap game. The Low End Theory and Midnight Marauders were even more successful.
Hip-hop needed a new sound; it just didn’t know it until Q-Tip and A Tribe Called Quest arrived. The trio’s iconic three-album run didn’t just deliver a new sound to the ever-evolving genre. It proved that different techniques could still warrant chart-topping numbers. Their work later would morph into the soundscapes of MCs such as Common, Mos Def, The Fugees, or even modern-day acts such as Lupe Fiasco and Kanye West. Q-Tip was in the driver’s seat, acting as the primary producer. Even if he got his creative start as a writer, he’s since morphed into an MC who prefers to be behind the sticks. In fact, most of his modern-day unreleased tracks are devoid of lyrics, simply focusing on the sound.
Q-Tip Is A Mentor In Hip-Hop
Ali Shaheed Muhammad, Phife Dawg and Q-TIp of the hip hop group “A Tribe Called Quest” pose for a portrait session in September 1993 in New York . (Photo by Al Pereira/Michael Ochs Archives/Getty Images)
After A Tribe Called Quest’s iconic three-album run, the lackluster success of their fourth project signed the death warrant of the group. While Beats, Rhymes, and Life contained their familiar electric blend of turntable jazz and introspective raps, the exuberant flair of their early works was gone. As Q-Tip clarified with SPIN, “It just became a seriousness. Whereas prior, there was a lightheartedness to Tribe.” A combination of inflated egos and Q-Tip’s further commitment as a Sunni Muslim altered the calm energy of the group. In essence, it was time for Q-Tip to pursue a solo career.
After the inevitable slowdown of A Tribe Called Quest, Q-Tip’s solo career just as much entailed producing for others as it did curate his own sound. Most notably, he executive-produced Mobb Deep’s The Infamous. As Mobb rapper Prodigy put it with Complex back in 2011, “Most of the songs on there—but not all of them—had his input. Like, ‘Yo, I think y’all should do this to this, add a little snare here, or a delay there.’ Little things like that. It just came natural.” Q-Tip also opened doors into the music industry for Prodigy and Havoc, introducing the duo to members of Def Jam Records. By the mid-1990s, he had settled into his role as a stoic mentor in the hip-hop space.
Q-Tip Had A Highly Successful Solo Career
LOS ANGELES, CA – JULY 22: Q-Tip of A Tribe Called Quest performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. (Photo by Christopher Polk/Getty Images for FYF)
That mentor role would eventually morph into Q-Tip becoming the artistic director of hip-hop culture at the Kennedy Center for Performing Arts. Sitting down with NPR, he stated, “For so long, the creators and practitioners of [hip hop] were looked down upon as degenerates and provocateurs. To be able to have the Kennedy Center institutionalize the platform helps people understand what Black complexity is.” In many ways, Q-Tip personifies Black complexity, proving that uniqueness can still succeed in hip-hop.
His solo career wouldn’t go on to be as consistent as the ATCQ days, but he reached the top of the charts. Amplified and The Renaissance did modest numbers, likely spurned by the nine years between their respective releases. Yet, their singles like “Vivrant Thing” and “Breathe & Stop” have become classics. Additionally, Tip’s collaborations with artists like Snoop Dogg, Busta Rhymes, Missy Elliott, and Janet Jackson would further propel him into legendary hip-hop history.
However, his solo efforts’ tight refining of classic boom-bap with experimentation warranted critical acclaim amongst Q-Tip loyalists. In addition, A Tribe Called Quest returned for a last hurrah in the form of We Got It from Here…Thank You 4 Your Service. Q-Tip is timeless, a permanent stamp in hip-hop with a sound just as important today as it was during the early ’90s. From pioneering the entrance of boom-bap jazz into the hip-hop world to his work as a mentor and executive producer, Q-Tip deserves his flowers.
Listening to an Alchemist beat is unlike anything else in hip-hop. The boom-bap icon’s beats convey pure happiness and freedom, ranging from his works with Boldy James to Freddie Gibbs. Raised in Beverly Hills, California, he quickly identified with the rebellious nature of hip-hop. By the mere age of 14, The Alchemist, born Alan Daniel Maman, decided to spearhead hip hop duo The Whooliganz in 1991 alongside Scott Caan, who went by the moniker Mad Skillz. They initially grabbed the attention of B-Real of Cypress Hill. While the two recorded an entire album for Tommy Boy Records, the label would decide not to release their project in 1993 after their debut single failed to reach commercial success. Eventually, Caan would venture into acting to great success. However, The Alchemist fell further in love with the creative process of hip-hop.
While The Alchemist’s first musical initiative had failed, hip-hop contemporaries noticed his hunger. He would quickly become fascinated with the production aspect of rap. Under DJ Muggs’ guidance, he learned the functionalities of using a sampler and a mixing board. By the late 1990s, The Alchemist had become the go-to producer for Dilated Peoples. This opened the gates for his work with Mobb Deep and eventually, collaborations alongside Nas, Ghostface Killah, and Snoop Dogg. He became a household name in hip-hop, and by 2005, Eminem recruited him to be his official DJ under Shady Records. While he had reached the pinnacle of hip-hop production by the 2000s, his heart remained in the rugged sounds of underground hip-hop. On top of his production credits, he also released several solo projects, including 2004’s 1st Infantry and 2022’s The Alchemist Sandwich.
The Alchemist’s Beats Have Revived New York Rap
The Alchemist’s production style attempts to unite the sound of the underground with radio. Polished yet rugged, his golden-age sampled loops attracted a wide range of elite MCs from New York to Los Angeles. However, his reputation is most associated with the long-lasting trait of hard work. There’s seemingly an announcement of a new Alchemist-produced album every few weeks. So far, 2023 has seen the release of Larry June’s The Great Escape. The project features mellow beats entirely created by The Alchemist that pair perfectly with June’s laid-back California flow. In addition, he contributed to an astounding 17 hip-hop albums in 2022 alone.
While The Alchemist grew up in Southern California, his beat-making days have most heavily influenced the revived boom-bap sound of New York. He’s played a crucial role in reviving the East Coast underground through his many production credits with artists such as Earl Sweatshirt, Navy Blue, Wiki, and the Griselda crew. He told Complex, “My process is to become friends first, or just to get to know a person and like them. When I think back on a lot of the good music I made with people, when we first met, there was a moment when I was like, ‘I like this guy.’” That perspective is a fresh one in hip-hop, especially as many producers work with artists for underlying financial motivations.
The Alchemist Supports Smaller Artists
That focus on creating great music has been more apparent as The Alchemist has continued to develop as a producer. Rather than work with the biggest MCs in the game, many of his recent records have been with underground and independent artists who are carving out their legacy. However, that hard work would culminate with a Grammy nomination for Freddie Gibbs’ Alfredo in 2020. Combining Italian mafia themes and electrifying guitar strings, many hold Alfredo as the best album in Gibbs’ deep discography. The Alchemist continued that classic streak since then, releasing critically acclaimed projects such as Roc Marciano’s The Elephant Man’s Bones and Curren$y’s Continuance.
Many modern-day beat lovers wouldn’t know it, but The Alchemist is also a talented verse-dropper. While he briefly ditched his pen game after his teenage project wasn’t deemed entertaining enough to hit the charts, he’s still dabbled with creating his own verses during his spare time. Take 2012’s Russian Roulette, a project that he expanded on with Tidal. “At first it was instrumental, then I filled it in with some rhymes and just wanted to spread my wings a little bit as far as the stuff I was accustomed to making. I wanted to subvert what people were expecting and just go left a little bit.” Most recently, he traded bars with Hit-Boy on “Slipping Into Darkness” off of Surf Or Drown.
Only Getting Started
Now approaching the halfway mark into 2023, The Alchemist has yet to announce another project for us to look forward to. However, Vince Staples recently expressed frustration regarding the leak of his unreleased Alchemist-aided tracks. If the past is any indicator, we’ll be hearing much more from one of boom-bap’s most iconic producers by the end of the year. The Alchemist has garnered a reputation as hip-hop’s hardest worker throughout a career that now surpasses three decades. Impressively enough, it looks as if the 45-year-old is only just getting started.
One subgenre has steadily maintained its influence in the vibrant and ever-evolving hip-hop world: Boom Bap. Born from the gritty streets of New York City in the late 1980s and early 1990s, the style is defined by its distinctive sound palette. Named onomatopoeically for its hard-hitting drum sounds, “Boom” for the kick drum, and “Bap” for the snare, the old-school version of the genre has become synonymous with East Coast hip-hop’s raw, authentic spirit.
The niche emerged as a response to the highly-produced, synth-heavy sound that dominated the hip-hop scene in the mid-’80s. Pioneers such as DJ Premier, Pete Rock, and KRS-One sought to strip hip-hop back to its roots. They focused on complex lyricism and stripped-down, sample-heavy beats. The result was a gritty, raw sound that has remained a cornerstone of hip-hop culture.
The Anatomy Of Boom Bap
Teenage boys listening to music friom a stereo wearing American style football and basketball tops in Paris. (Photo by Phil Knott/PYMCA/Avalon/Getty Images)
Its unique musical anatomy sets the style apart from other hip-hop subgenres. The beats in Boom Bap are typically slower-paced. This allows the listener to focus more on the lyrics and the rhythm of the emcee. Additionally, the drums are always front and center, with the “Boom” and “Bap” sounds providing a steady, rhythmic backbone to the track.
Equally crucial to the sound is the use of samples. Producers pull from various sources, but classic soul, funk, and jazz records are common staples. These samples are often chopped and recontextualized to create a fresh yet nostalgically familiar sonic landscape.
Golden Age Of Hip Hop
NEW YORK, NEW YORK–NOVEMBER 01: Rappers Method Man, Nas Kurious and Redman (aka Reggie Noble) who is shown giving the middle finger obscene gesture are seen in a portrait taken on November 01, 1993 in New York City. (Photo by Al Pereira/Getty Images/Michael Ochs Archives)
No discussion of Boom Bap could be complete without acknowledging its integral role in what many consider the Golden Era of hip-hop. From the late ’80s to mid-’90s, artists like Nas, Gang Starr, and A Tribe Called Quest pushed the boundaries of lyrical content and delivery. This was done against the backdrop of BB-styled beats.
Boom Bap became a vehicle for artists to express complex narratives, social critiques, and personal stories. It significantly broadened the scope of hip-hop as a cultural and artistic medium. The raw authenticity of the sound also served to ground these narratives. It created an unfiltered connection between the artist and the listener.
Boom Bap In The Modern Era
NEW YORK, NY – JANUARY 26: A view of atmosphere during YouTube brings the BOOM BAP BACK to New York City With Lyor Cohen, Nas, Grandmaster Flash, Q-Tip, Chuck D and Fab 5 Freddy on January 26, 2018 at Industria in New York City. (Photo by Brian Ach/Getty Images for YouTube)
In the late ’90s and 2000s, the mainstream hip-hop scene shifted from Boom Bap to more polished, commercially viable styles. However, Boom Bap never vanished. Instead, it found a home in the underground scene, where it thrives today. Modern artists like Joey Bada$$ and producers like Madlib have not only kept the tradition alive, but they have also injected it with fresh energy and perspective. They honor the subgenre’s roots while pushing its boundaries, incorporating elements of trap, lo-fi, and other contemporary styles.
(L-R) Bobcat, Cut Creator, LL Cool J, and E-Love take a ride in a limousine in New York City during the filming of the video for LL Cool J’s single, ‘I Need Love’, 1987. (Photo by Michael Ochs Archives/Getty Images)
So, what is Boom Bap? It’s more than just a hip-hop subgenre. It’s a testament to the enduring power of authenticity in music. Its gritty beats and lyrical depth are also a bold counterpoint to commercialized trends, serving as a reminder of hip-hop’s roots in the streets of New York City. As we look toward the future of hip-hop, the spirit of the sound continues to resonate. Artists worldwide draw inspiration from its raw energy and authenticity, ensuring that Boom Bap continues influencing hip-hop’s evolution.
Logic will executive-produce Juicy J’s next album, set for release sometime soon this year, hopefully. Moreover, the past collaborators uploaded a cheeky interview-style video to talk about their team-up. While it’s been a minute since the two cooked up together on a track, this crossover will be nothing short of curious, and potentially a classic this year.
LOS ANGELES, CALIFORNIA – DECEMBER 18: Rapper Juicy J of Three Six Mafia performs onstage during Once Upon a Time in LA Music Festival at Banc of California Stadium on December 18, 2021 in Los Angeles, California. (Photo by Scott Dudelson/Getty Images)
Furthermore, the DMV rapper hinted at what Juicy’s next sonic direction will look like.
“For those of you who don’t know,” he said, “I, Logic, am actually executive producing one of Juicy J’s next albums.” Interestingly, he said “one of,” so maybe this year is more fruitful than we thought. Still, Juicy J hasn’t revealed any release date info or other album details. However, from Logic’s word, fans expect a pretty unique and exciting escapade from the Three 6 Mafia icon.
“It’s the most Dilla, Hip Hop, Alchemist, gangsta, Madlib, f**king dopest sh*t ever.”
In fact, readers might be surprised at the deep-rooted connection between these two MCs. Back in December of 2020, the Memphis rapper said that his “best friend” Logic helped him come up with his iconic “shut the f**k up” producer tag.
“Logic is my best friend, man,” he told HipHopDX. “We hang out all the time. We was in the studio and he was just talking. He’s like, ‘Man, what did Juicy J say? Shut the f**k up.’” We was just being funny. And I said, ‘Hey.’ I stopped it. I told the engineer, ‘You recorded that?’ He’s like, ‘Yeah,’ I said, ‘Man, I’m using that as my producer tag because that s**t is hard. You talking is.’ We didn’t say, ‘Hey, Logic, go in the studio, I mean go in the booth and do this.’ He just said it and it was recording.”
Considering all this, are you looking forward to Juicy J’s next album, executive-produced by Logic? Whatever the case, feel free to let us know in the comments below and make sure to check their collabs out. Also, as always, stay logged into HNHH for the latest release rumors, rap team-ups, and anticipated albums in the game.
Veteran Boston rapper M-Dot is back with a new single for the holiday season, “Christmas Trippin” with longtime collaborator Lateb. Both spit bars over some clean boom-bap production, complete with jingling bells to match the occasion. M-Dot produced this track as well, and along with Lateb, spits quirky and stylish bars about the holiday. It’s a very different vibe to previous tracks of his like the politically charged “Reaganomics.” Still, their talent as MCs and writers shines through, almost as much as their creativity and sense of humor.
Instrumentally, the track uses samples and a classic boom-bap drum loop to craft a straightforward but effective Christmas theme. Moreover, the bells are quite subtle, so it’s not like the festive nature of the song is overwhelming the instrumental. Also, the guitars cut through the mix the most clearly, so they distract listeners with its main melody. Ultimately, the instrumental fit snugly with the song’s lyrical themes and topics, which are the star of the show.
Something to process a homie just reminded me of…..
DJ PREMIER sampled my vocals to scratch with which he got from a record I did with PETE ROCK.
pretty iconic sentence of how far we have come. Blue collar grind
Furthermore, M-Dot and Lateb bring animated, engaging, and steady performances to this song. “Christmas Trippin” is full of holiday movie references, cheeky mentions of Christmas iconography, and a Bruce Willis shoutout. “I mean, Bruce Willis is Christmas,” the skit at the end proclaims, most likely referencing Die Hard. Still, it’s nerdy and playful in the best way. However, they don’t compromise on the lyrical side of things, with strong command of internal rhyme schemes and flows. It’s very niche, but a perfectly fun listen for the festivities.
But what did you think of M-Dot and Lateb’s holiday jam, “Christmas Trippin”? Let us know in the comments and check out some notable lyrics from the song below. If you haven’t checked it out yet, make sure to find it on your preferred streaming service. Also, as always, stay tuned to HNHH for the latest hip-hop drops and more Christmas festivities from pop culture.
Quotable Lyrics
My cousin wants a BB gun, that’s the style now, Everybody telling ’em “You’re gonna shoot your eye out,” Cousin Eddie outside since the s**t is full, Scrooged on the TV, Bill Murray cynical
