Opinion: “Protecting Energy” Episode 517? No… it was protecting the ego of Joe and Royce

The recent Joe Budden Podcast with both Joe Budden and Royce da 5’9” which dropped on the 13th March. Two days after the ‘Rise and Fall of Slaughterhouse’ album was released by KXNG Crooked and Joell Ortiz.

This podcast really shows the petty and fragile the egos of the rap group is. Royce came late into the podcast. After Joe had owned the building like he always does and his co-hosts are mediocre side-kicks. Which we knew would happen with Ice and Parks after ditching the predecessors on the Joe Budden Podcast.

Seeing how they call it “unsupervised” and mock the dress-code of Joell in the music-video. That just shows how Royce is unhappy with it. The same is Joe Budden. They are calling out the roll-out and the album itself. Saying its’ weak and that they didn’t address it hard enough. Even saying they were “short-sighted” of them.

What I am hearing from this one was very little new information. Only that they weren’t in it. Royce seems like he don’t want to take responsibility for his part of it. Alas, just push it all on the other members. While he is not saying anything bad about Joe. That seems weird to me. As he blames the others. Just like he did on IG Live last week.

It is interesting to see that Joe and Royce are more sour about the brand and the logo ish than about the music. These two are more in sync of the roll-out and how the messages was spread ahead of album. Because, to them the Slaughterhouse brand lost value…

Alas, nobody cared about Slaughterhouse for years. Just like Joe didn’t work or put the time in for anything else than his Network. That’s why as a fan to listen to his whining on the podcast does no good. Royce doesn’t to cool either. He is on his D12 bashing days in concern to the duo who made their own album.

Royce said he was “insulted” and lost “sweat equity” is also weak tea now. We know his been busy on his own. Working on Phryme and own albums. It is not like these two gentlemen is sincere about the will or worked for any joint projects. Especially, when we heard what the other two rappers tried to do.

Joe Budden spoke with a lying tone on there about not “hurting his people”. The man who don’t honour contracts, neither in Def Jam or Shady Records. While he throw Mal and Rory under the boss. While Joe will not address the contracts and possibilities that was created in the 10 year of no music.

Royce said he now wants to “protect himself and his energy” from Crook and Joell now. Where he has to hide from “narratives” and be the “bigger man”. Now it is clear that he wants to distance himself from them. Joe even called it a “slimy shit”. That shows what is really happening behind the scenes.

As a fan this is proof of the total destruction of Slaughterhouse. This Episode of Joe Budden Podcast proves this. Royce and Joe shows that they had no intention of doing anything. They were undressed in public and didn’t like it. Royce wanted to be the big-man, but not take responsibility. That is evident of listening to it.

Royce is clearly not vibing. Trying to act all out and Joe is his own self. Nothing has changed. The album only amplified it. Peace.

Opinion: The Slaughterhouse as we knew it is now gone

XXL March 2011 Front Page

Today KXNG Crooked and Joell Ortiz dropped ‘The Rise and Fall of Slaughterhouse’ which didn’t include the other Slaughterhouse MCs Joe Budden or Royce Da 5’9”. Therefore, we easily state that the 4 artists will not drop any serious project anytime soon.

We know that Royce is in his mojo and dropping separate projects as a solo artist. Joe Budden is buys with his podcast and network. While Joell Ortiz have dropped projects steadily. The same can be said about KXNG Crooked. They have all worked separately … but has consistently teamed up on various of projects.

That’s why we can after this week and the fall-out after that with certainty say Slaughterhouse will not be revived or have an anniversary tour. The group as an entity seems dead. Even if Royce or Joe has acted differently about it. Since, they by all means are allowed to feel invested and part of it. That is legit, but at the same time… they haven’t tried or carried anything for years. At least how it looks like now to the fans, which I am.

I bought the first Slaughterhouse album, which was released independent and the Shady Records “Welcome to Our House”. That’s because I was initially a fan of Royce and Crooked I. These two had history and dropped projects, which I bumped back in the day. Some of those records I play to this day. Therefore, I got introduced to Joell and Joe Budden.

I never cared for Joe Budden and his rhymes. That is just the way it is, but because of Slaughterhouse. I started look into his discography and his later his albums, which he released like “All Love Lost” or “Rage Against the Machine”. While I have become a fan of Joell Ortiz, because of the group and now enjoys plenty of his albums.

That’s the value of this group. It galvanized the ones who was already popular and had a fanbase, but also got more people looking into it. I knew about Joell because he had signed to Aftermath at one point, but hadn’t really heard his music. Only read about him in passing the XXL Magazine. So, that proves the value of joining forces. That should be a lesson for other s in the future.

A group like this has an exponential potential not because of the names alone. It has superior possibilities and can advance their career. I am certain that I wouldn’t care or have listened to Budden or Joell, if it wasn’t for Slaughterhouse.

So with today’s release of the ‘Rise and Fall of the Slaughterhouse’ only cements the end of the group and the option of further releases. As we know Joe Budden isn’t on the mic for other reasons than bitch on the industry on his podcast. Royce is comfortable in his own solo career and with the recent success. While the two others can work together and prosper, but they will not become a new Slaughterhouse. No, they will just be KXNG Crooked and Joell Ortiz. These two are fantastic on the mic and can drop bars. However, they are the not the game-changer or the rappers who conquers the charts like that.

Let’s be clear, Joe Budden is an initiator and instigator. No matter how you put it and his the ones that burns bridges in Def Jam and Shady Records. He wasn’t even planning to honour his deal with Shady. So, it is clear from the get-go that he would be a troublemaker, which we have seen time and time again. He expect people to work and be loyal to him blindly, but himself has to have the upper-hand and get all the benefits of a deal. Like his more worth than the group. That’s how it looks to me. Yes, Royce played along, but they have all focused on own careers and this has become a back-burner.

That’s why we know the drill and the studio will not be filled with these gentlemen. That Joe Budden speaks of how he would “murder” and be “danger” on the mic. I don’t believe him. Last time he tried to instigate things, Drake didn’t even catch the memo or care about his bars. It was even more silent and less concerned than Nelly was back in the day KRS-One dropped his diss-record. Therefore, Budden is a bit high on his own supply.

Alas… we can all be safe to say. These gentlemen will not reunite or drop anything significant together. They are not in that head-space or searching for that project. These has moved on and their resolve is different. Some got more out of it and other found new paths after. That’s why we know that is done.

The ones hoping for Glass House. Some people are still waiting for Dr. Dre’s “Detox” and I expect the same fate over this one. We are lucky if Crooked and Royce can drop their joint records together. If Royce can be a big man and understand the hurt of Crooked too. Unless, the ego is to huge and he cannot overcome that. Since, we have seen how “hurt” and “pained” he has acted on IG during the last week. Therefore, it is hard to know, if these tracks will ever see the day.

So here we are… in a juxtaposition and we are ending up nowhere. The group left Shady, but they all signed out too. Some tried to find deals and avenues for releases, but the drive and edge to do so… wasn’t really there and that’s why we ended up getting the half-way project today. No one should be happy about this.

Still, this shows why communication, relationship and the brutal truth is needed. They are built with different teams and motivations. These MCs had their interests and their visions for this. Nevertheless, seemingly some of them felt it was unfulfilled, while others hoped for a final project. That’s why we are here and not anywhere else. Peace.

A review of the ‘Rise and Fall of Slaughterhouse’: The Roll-Out and the Album itself all in 1

The roll-out of the joint album by KXNG Crooked and Joell Ortiz ‘Rise and Fall of Slaughterhouse’ is finally over. There been releases of singles like “Vacancy” and “Backstage” which set the tone. The other members of Slaughterhouse got into their feelings and said they even felt “hurt”. This being Joe Budden and Royce Da 5’9”. These has gone wild on IG Live, interviews and even on own podcast twice. So, there is certainly pieces crushed … and certainly amplified the egos of all the members.

These two has gone off at the other MCs of the group, which haven’t dropped a major project since “Welcome To Our House” in 2012 on Shady Records. Since then we the fans has waited for an infamous project named “Glass House”, which would have been the third instalment from the group. Alas, we are now a decade later and we have a joint venture between 50% of the group.

The album is clear in the bar-for-bar and tells their story. However, this one isn’t going in deep. It is touching the end of Slaughterhouse. While Crook and Joell made it seems like they would bury the group and tell deep unknown stories of the group. Yes, there are joints that speaks of the loss, the costs and the lack of movement of the group.

The beats are fine and dandy. The two MCs are seasoned rappers and can drops puns like nothing. They are proving their ability and why they are respected word-smiths. Still, the album should have told more, but they were maybe acting with some caution. As they still see Royce and Budden as brothers. That would make sense?

The roll-out made it seem like it was deeper and would be the closure of the chapter. This is just giving snippets of it and not digging deeper into the reasons of the lack of any albums from Slaughterhouse.

We know the Slaughterhouse was a powerhouse and a promising group that had a shot to be fantastic. The two MCs on this album proves their skills and ability to write rhymes. These two proves that on the album. Still, they are not saying things we haven’t heard before. Yes, Joell are straight and feels betrayed by certain members, that they we’re his brother. That is proven by “Coastin’” by them both.

We clearly hearing the stories of how Joe Budden thinks his bigger than the rest of group. That story is coming out. As well, as Royce who didn’t want to move either. We don’t know if that is all true, but that’s the narrative the Two MCs are spinning. This is not shocking, as they have told similar things in advance.

While the “Still In My Feelings” feels like an upgraded version of the intro to Joell Ortiz “In My Feelings” from Autograph. So, this is a joint that Ortiz already has published and verse he has released twice with only adding Crooked onto it. That was a bit weak of a man like Joell. This is re-issuing what you have released and put it on a joint album…

Look Mama” is the natural track of MCs who has made it and wants to give thanks to their mother. It is a nice joint and shows how the two went from poverty into riches. What it also shows their grateful words to their mothers. This is a nice track, but on a farewell of Slaughterhouse seems like an add on.

The end “Sorry” fits the “Coastin’”, “Backstage”, “Fukglasshouse” and “Vacancy” which all fits the pattern of ending it. While there are other tracks that doesn’t goes that deep. The production is tight. The beats are fitting the moods and the verses.

It is a well-built album. This album was made to seem to be a total closure of Slaughterhouse. The House was forclosed and the logo was even burned in the “Vacancy” music-video. However, it seems more like a moment of airing out some grievances, but not going really hard at it. The two made sure not to bury all bridges or throw to many punches. It is not like they tried to “Second Round K.O” or “Vaseline” it. The intent was clear not to make diss-tracks or brutally assault the other members.

However, it is short of stories and of further reflection on the matter. It has some sound-bites and some cuts, which can spark tension between the members. Nevertheless, it is not too deep or reflected. The album isn’t filled with bars that could envision or be able to tell another narrative. Than the stories, which was already out there.

That’s why the promise of closure and end is sort of still out there. This here is a beginning of an end, but not the final one. Not in my perspective as a fan and a listener. Who has enjoyed albums and projects from all four in the Slaughterhouse. That’s why I wanted more out of this here. The tracks that wasn’t about Slaughterhouse directly could have been leftover tracks from “H.A.R.D” for all I know. So, they just traded this and made it a full LP.

Still, this is an album for any rap and hip hop fan. Especially, the ones that has followed Slaughterhouse and the MCs associated with that. I will not consider this one a classic or such. It tells a story, shows the skills of the two, but it is not whole. Neither does it seem to poignant enough. Which is sad… because they could, but then they would totally destroy any chance of friends, collaborations or even being considered associates with the other two. That’s why I think they didn’t go all in or wrote rhymes that could spark a full out beef. Because, they just want to shed a light on why there haven’t been a release of any album since 2012. Peace.

A fan reaction: We need the closure of Slaughterhouse – The aftermath of the IG Live video

After watching the Instagram Live Video hosting Joe Budden and Royce da 5’9” first for the most part. Later dropping by for a short minute Joell Ortiz. While KXNG Crooked or Crooked I wasn’t present at it. However, what was said and the sentiments between the MCs are now crystal clear. Because, it was going nowhere and fast…

What is clear is that Joe Budden isn’t all that. He has a ego, which is higher than Mount Everest. While Royce is shielding himself and not holding himself accountable. His trying to ditch all responsibility or participation of whatever he did. That is how things are looking like to me.

It seems like Crooked worked out agreements and possible deals for Slaughterhouse, which Budden and Royce didn’t want or had interests in. They had already mentally called out or ERROR 404 it all. Since, whatever Crooked worked or fixed behind the scenes wasn’t good enough. While they are all claiming the IP and the ownership of it.

That’s why Budden was crying out about the logo and burned merchandize in the “Vacancy” video. While the “Backstage” video is also ruffling with some feathers. This is really poignant and evident, that the “Rise and Fall of Slaughterhouse” is not what Budden or Royce had in mind. They are not in that space and seems like they preferred it all to be dead. Alas, Crooked and Joell is just dropping a passion project. That is evident by how Joell and Crooked talks about it. While the pains and hurt is obvious too.

As a fan, I have stated, we need the closure. Some might find that corny after waiting for years and close to 9 years of nothing. The “Glass House” album is the epitome of broken dreams and shattered promises at this point. Heck, any project with the 4 MCs seems impossible. Firstly, because of Joe Budden himself. The almighty man and biggest ego of all of them. That is very evident. While Royce don’t leave much on the table either. That’s how it seems to me from the outside. He just playing the field and hoping for the best deal without having to put any work in. That’s how it looks like to me. The sort of brother that takes lots of credit when the project is out, but didn’t much or be concerned with the finer details before his cut was in reach.

While Crooked worked the business and offerings directly. Joell has been busy and steadily dropping project. Royce have had the two major boosts with “Book of Ryan” and “The Allegory” but the “Phryme” era seems long gone. While Joe has been Joe with his “empire” and Podcasting gig of late. Rory and Mal must clearly seem some resemblance in how Joe is handling this here. Because, this is the same toxic and controlling Joe we have seen before. Where Joe is always right and needs to fit on his accord… that is clear. Joe is right to want that, but if it is a joint-effort. Than everyone has to be served and not only Joe. While Joe is only concerned about Joe. That’s why he acts almighty and superior to the likes of Joell. That is obvious and it’s infuriating.

Joe haven’t even dropped anything with heartfelt emotion in a minute and “Mood Muzik” is ages ago. Nobody fears Joe’s rap or assault on a beat. If it was Lloyd Banks.. than I would be fearing something. But Joe Budden in 2022? He don’t even call the shots or ops. His just busy cussing out Parks on his couch.

As a fan of Slaughterhouse. A man listening to their music. This is just a tragic demise of a promising and possible powerhouse in the genre of Hip Hop. Instead, the men went their separate ways and cannot reconcile their differences. The egos are too much and their personal grievances is evident too.

While I enjoy Royce, the way he acted on IG was no good. Neither was Joe. They ganged up on Joell. While only trying to go after him and Crooked. Crooked wasn’t even there. The album which drops soon will be interesting. I am looking forward to the closure and the foreclosure of Slaughterhouse. Since, the mortgage and the owners has abounded it. Therefore, we shouldn’t expect more from them after this.

That is very obvious. The album from Crooked and Joell is putting the nail in the coffin. I doubt Royce or Joe will ever amount to anything. Except for them having their own projects and being all on their own. I don’t see a return and the bridges are burnt now. Which for some reason is actually good. Because, we don’t need false promises… I don’t need that… Peace.

A fan reaction: We need the closure of Slaughterhouse

This week it’s clear that Joell Ortiz and Crooked I (KXNG Crooked) are dropping a new joint LP called ‘The Rise and Fall of Slaughterhouse’ on the 11th March 2022. The Slaughterhouse phenomenon was huge years ago. The group was the future of the hip hop or rap. It was a group of 4 MCs who could drop bars and be brilliant on the mic.

This was filled with the two first mentioned, but also Joe Budden and Royce da 5’9”. All of them was an independent run and dabbled into the group thing. Because it turned into a movement and a generating fan-bases from all of the MCs. It was filled with rappers who was promising, but it didn’t take-off for before the Slaughterhouse unification.

Yes, Budden had like one single and a well selling LP back in the day. But at the time of dropping Slaughterhouse it wasn’t like that. Royce wasn’t pumping classical joints either. He wasn’t in that sphere and had also fallen out with Eminem. Therefore, it is not like Budden and Royce was all powerful at the moment.

In 2022 it is most likely that Royce and Budden doesn’t need Slaughterhouse. They have closed the chapter and moved on. While Ortiz and Crooked is now finalizing it after all the years since the 2012 release of “Welcome to Our House” which was released on Shady Records. Therefore, it is about time. We know “Glass House” isn’t getting released and is practically this group’s “Detox” which never will be released.

That Budden and Royce is “hurt” or “disappointed” but the other parts or the group is doing their thing. It is really natural, as the willingness of the others to participate or even connect isn’t there. Crooked tried to reach out and figure something out. However, it is clear by all narratives, it wasn’t in the cut or wanted to materialize. Clearly, Royce isn’t in that space and brewing everything on his own. While Budden is busy scheming his own enterprises. Where Budden throws all the “shots” and the others has to comply. Because, we have all seen how he acts towards fellow podcasters and employees on his own Network. It isn’t all shiny, but he wants the golden goose for himself. That’s why he is “hurt”. He wants the coins, but not put the work in… that’s how it seems to me.

The joint project of Ortiz and Crooked is a breath of fresh air. Ortiz have been dropping steadily music since the end of Slaughterhouse. The same has been done by Crooked. These two has been in the studio and dropped sonically good projects. The same can be said about Royce who has been on a steady progress with “Book of Ryan” and “The Allegory”. Therefore, we know what they can do. However, Budden is just a drama-setter and a TMZ of podcasting now. His not in favour and he just wants coins for other people’s work.

As a fan, seeing the “Vacancy” and “Backstage” singles… I am positive and haven’t felt like this since “Hammer Dance” or “Goodbye”. Maybe, Budden and Royce wanted more control of the business side of it. As the deal was broken by Crooked and he manoeuvres in a different way than the two who is left of the project now.

I only see value in the up coming project. Royce is fine on his own and building his discography steadily. Also his capabilities in producing beats and whatnot. He is really getting into his own lane and doesn’t need anything else. Budden can be the drama podcaster, which he wants to be. Ortiz and Crooked just supposed to work on their independent careers and leave it be.

However, I like it and support it. This is what is needed. Slaughterhouse fans needs this. No matter how “hurt” or “disappointed” the other MCs are. They ditched out and now the two others are telling their story. I cannot wait to hear the rest and be able to bump it too. Peace.

2021: The albums I have enjoyed this year

Last year I was able to make to lists and separate the ones who was Hip Hop and the ones who was Pop & Afrobeat. However, this year I will make a joint session. Since well, music haven’t been as prevalent for me. Neither has the music been as vital or been as close as before. The lockdowns and quarantine has stopped a lot of time listening time for me. Usually, I listen to the most music in transit or watch music videos at home. Therefore, I lost a lot of space and opportunities to it by default by being home during lockdowns this year.

That’s why I will have one simple list and all genres will be represented here. The albums I did appreciate and can see myself bumping in the future… and the ones that was lost on me… the famous dishonourable mentions, if you may.

Well… here we go.

Mr. P – “The Prodigal” was a fun afrobeat album from the P-Square alumni. He really showed swag and wished more people had talked about it. There is nice joints on here and it’s underwhelming how little that has been pushed about this album.

HRSMN (Canibus, Kurupt, Killah Priest & Rass Kass) – “Last Ride” was a dope hip-hop album made by old-school heroes. It was really fun and not with tracks fit for modern radio. This was the finesse and funny bars from a collective of wordsmiths. All of these gentlemen have proven their skills in the past and this was just a gem to listen too.

B-Real & Scott Storch – “Tell You Something” was a shocker of a release. Not that I have anticipated or awaited anything produced by Scott Storch in a decade or so. Storch fell off and seemed to be lost .B-Real has been on joint LPs with Xzibit and Derrick of late, which has been super awesome to listen too. So, his just following up on that and is having a great time on the beats of Storch. FYI: “Never Go Home” has a terrible beat and it should have been forgotten on whatever Nintendo Gameboy Game he sampled it from. That’s the only downer on this one and is an instant skip.

Rudeboy – “Rudykillus” is the other P-Square alumni album of the year. Where he starts of the album reminiscing and reminding everyone of his past hits. His swagger is cool and all. This is an album worth listening too and tracks like “Focus” shows his star-power and talent.

Talib Kweli and Diamond D – “Gotham” is another wordsmith and hip-hop album, which I felt has gone under the radar. Not shocking, as it been years since Talib was a main-stay and relevant for a broader audience. Still, he deserves credit and can produce nice of bodies of work to this day.

Joell Ortiz – “Autograph” is the A-Typical project of the Slaughterhouse MC at this point. He can tell stories and paint pictures with his words. The beats are refreshing and vibrant. It’s an absolute gem of a LP. These are the sorts that should be higher on rankings and get acknowledged, but the game is rigged. That’s why it’s not there…

Fashawn & Sir Veterano – ‘All Hail The King”. The F is finally returning and off Nas’s Mass Appeal. He shows why his a cool dude and an artist. Here his just brazen and direct, as there is steady and funky beats by Sir Veterano on the production. This is a real underground, but he should get credit. As he has continued to push out his craft and with this LP his showing that he is a force to be reckon with.

Dax – “Pain Paints Paintings” was an album which grow on me. Dax hasn’t changed or anything. Listen to him thanks to YouTube and the videos there in quarantine. He dropped a few EPs before and it was evident there was skills there. Now with a full project it was fun to listen too. Not it is revolutionary or has any sort of traditional hip-hop over it …. NO. But, it is a fun joint and easy-listening, as Dax never goes to deep.

Saigon – “Pain, Peace & Prosperity” is the album of a man I have followed since the Yardfather mixtape series in the early 2000s. It is nice seeing him shining on this one. It is clear that Just Blaze isn’t as involved or have production on here. Though, it is refreshing to see Saigon deliver a full project and get support from all across the board.

Remedy – “Remedy Meets Wu-Tang” is the most out of left-field album of the year for my part. It was just so amazing to see the Wu-Tang Collective shine on a album in 2021. This was like the golden age returning and nothing had changed. The beats, the bars and the whole setting was made for this. Remedy, which I haven’t heard of and maybe I lost the memo. Was showing his skills, but there was plenty of times where the Wu-Tang MCs out-shined him, but who cares? It’s an awesome project!

Lloyd Banks – “The Curse of the inevitable” with the return of the G-Unit wonderkid. Well, Banks isn’t a kid anymore and been a long time coming for his return. The G-Unit rapper dropped an album which fits into the Griselda era and could easily been dropped on that imprint. This wasn’t sounding like any of his previous LPs or even having the production of a G-Unit album. However, his word-play and bars was obvious on this one. That was what made this one unique. Not like he was pressured by Interscope or G-Unit to make a radio-friendly jam to be played on Hot 97.

Tiwa Savage – “Water and Garri EP” was a fun instalment, a very short one, but a worthwhile one. This is what you expect and as always, Tiwa does deliver. There is no skips and just a jolly atmosphere until the project is over. Nas even featured on the first track and he phoned it in sadly, but at least he wasn’t speaking of “crypto-currency” on this one. Tiwa had deserved a more fitting rapper on the track, but she maybe wanted someone who is celebrated and gets recognized world-wide.

This here is my list and it’s subjective. There was several of albums that I still enjoyed, but didn’t play like did this. Others that I have in my “tape-deck” but haven’t gotten into. Which would be another list. Albums I tried to listen too, but never caught on or had the rush to bump again. There is a few of those. However, I don’t feel the need to drop those… Peace.

Opinion: Joe Budden is self-destructive …

What is tragic here is that someone as talent and bright as Joe Budden has a tendency to destroy everything around him. It is just his Modus Operandi. The rapper, entrepreneur and commentator has amassed huge potential. However, the ability to sustain and build long-working relationships a hard task for the man.

Joe Budden wants to keep things a 100. He wants to be real and speak from the heart. Nevertheless, he breaks things down and dips when he has to put the work-in. If that is a Second Slaughterhouse album on Shady Records. If it continuing his popularity after “Pump It Up” or anything else.

Heck, Joe has destroyed Revolt TV “State of the Culture” a deal he signed with P. Diddy. The same man was a vital figure in the rise of the YouTube sensation and cultural force within Complex own “Everyday Struggle”. It is just like he enjoys to see it rise and when it does. He wants a big cut of the profits and if he doesn’t he jumps ship. Instead of negotiating and making sense of things. He just bails out and hope other people picks up the pieces.

Just like it was with his solo career as well. Where he went from Def Jam. By some luck and wit was able to make it from one song to mixtape into a independent album with Slaughterhouse. Before signing with Interscope/Shady Records and drop another mixtape and the sophomore album there. However, in the end destroy the opportunity to drop the second on that label and the their third of the all star group.

Joe was able to drop another 3 albums independently after this. Before switching over to become a commentator and a podcaster. That is why he has participated in so many different ones. Before, he started his own and kept that going.

The Joe Budden Podcast have lasted since 2015 now. It is a long run and his side-kicks has been stable with there. Rory was there from the beginning, but Mal joined it in 2016. So they have all history there. Now, they have dipped and the first week without them at the latest edition of it.

It just seems like all the other enterprises of Joe he just have to burn this one as well. Joe just cannot help himself. Now, that things are established and gotten to a aspect of cultural phenomenon. He just got to dip again. Make it all about him and let the others fly solo. Just like when things was going good at Revolt. He just had to pull a stunt. The same over at Complex. It is just the gift of Joe. He just can’t help himself.

Joe now got the Joe Budden Network and is working on various projects there. How long will these relationship lasts and how far will he take it? When his dropping to sign with Spotify and others. Just like he did with “State of the Culture”. That is just what he does… He even sort of made the “Everyday Struggle” fallout much more hectic and significant than it needed to be. That is why there will always be something weird between him and DJ Akademiks.

Joe Budden is his worst enemy… Joe don’t need to fight anyone else than his own self. He can self-destruct and deplete all things he has made. When things turn shiny and golden he just gets greedy. Instead of waiting for his turn and ensure the gravy-train is moving. No, he wants a quick buck and a pay-off on the expense of others. That is how it seems.

Just like he doesn’t understand that the Shady Records had to re-coup and get profits, which as non-existent with the investments made in the production of the album and the roll-out there. He expected quick money from that too. Even as Eminem lost money on their album. The only way he could have made money, as stated in reports was if the group released the second on Shady or their third group projects, which has never happened to this day. That is unfortunate because the group had massive star-power and was assembled with lyrical wordsmiths. Who could have shown their greatness, but that was thwarted with the ego of Joe for instance.

Therefore, the “strike” of Mal and Rory isn’t something new in the life of Joe. No, it is just too common and sort of what he does. When he builds up something… he just got to destroy it. That is his gift. Instead of prolonging or trying to make something last. To even have longevity or a legacy he rather smash it quickly. That is what is so tragic.

Joe has had the option to make big cultural phenomenons lasts on other platforms. However, his ego and personality have gotten in his way. It is as if it is never enough. He wants more out of it and doesn’t get his way.

I have followed him on these platforms, seen the shows, listened to the podcasts, but I am tired of his mess. That he cannot get his ducks in a row and be solid. That for a man who wants to keep a 100. He surely take a sledgehammer and hits the fine china into a million pieces. The he expects someone else to clean up his mess. It is just tiring.

Especially, when the brother has such talent and skills. To just waste it and give the world all this negativity. That is really it. Joe Budden could be better and have significant more to give. However, he is his own worst enemy. This man doesn’t need a nemesis… because he can just look at his own shadow and in the mirror.

It’s a lot of things he could’a, would’a and should’a, but at this point. He should hang up the mic and just talk frank to his peers. Joe should resolve this and patch the hurt. Unless, he wants to destroy this too. Just to prove a point. The Joe Budden Podcast is the trio with him, Mal and Rory. The balance each other and makes it worthwhile. Instead, he wants to be the man on the pedestal and adore his greatness. However, that is not happening.

Joe, if you were that great in the first place. You wouldn’t need the team around you. Just like you couldn’t manage to break it solo. You needed Slaughterhouse to reaffirm yourself publicly. I think that this is forgotten and knowledge he doesn’t want to be reminded about. Because, who was really awaiting a mixtape and solo album of Joe in the 2000s? Not so many, right?

That’s the truth and just like that it’s now too. He has a name and a platform. Nevertheless, his not the sole reason why people are tuning in and he shouldn’t forget that. Joe is Joe, but now Joe got to stop. Unless, he wants to destroy this one too. Just like he did with the others in the past. Peace.

2020: The Hip-Hop albums I enjoyed

I used to be a Hip-Hop blogger and write about music a decade ago. That is how it all started for me. To write and speak about a topic I knew. However through college and studies. I turned more political and so did my content. That is why the few who knows ASAP08.Wordpress.com used to be my page and my blog for years.

This is why I am going to my roots now. Just writing my 2 cents about music and hip hop. As that is the genre I’m not only familiar with, but enjoys for the most part. The music scene is different. The auto-tune, the mumble-rap and other sub-genres is more prevalent than in the past. Even though T-Pain and Lil Wayne used the auto-tune like crazy back-in-the-day too. So, it’s not like its breaking news.

Well, 2020 have been a weird year. In a sense, the lockdowns and home quarantines have ensured that I actually listen to less music. As I listen the most on the road home back and from the office. I am old-school so I download the album on my phone. If I am digging it. It stays and if it sucks. I’ll delete it and check out a new project to download later. Like Datpiff and other pages have served me well over the years.

The big surprise release was Jay Electronica with “A Written Testimony”. Though it shouldn’t have been released as a solo joint, but a joint effort with Jay-Z. It seems like Jay Elect wouldn’t have gotten this out if it was for Carters persistent push and dropping bars for him in the studio. It would seem like he never would have released it. No matter what Jay Elect would deliver. It would never master expectations of the build-up. The endless singles and snippets. The brilliant 16 bars as a feature and then nothing. Jay Elect bummed me out. It is decent, but when your waiting this long. It should be a Chronic or a College Dropout sort of statement. Not just another Spotify filler tracks.

One that came with a banger and an album with no fillers for me was Royce Da 5’9” “The Allegory” is my favourite of this year. The Detroit native is proving not only his skills behind the mic, but also his own production. The album is so consistent and such a project. That I will listen to this for years to come. His roll of good projects is continuing from the Phryme era and the “Book of Ryan”. Royce is again and again proving why his viable and a MC to look out for.

For instance this year Griselda artists became a main stay for me. This being Benny the Butcher with his “Burden of Proof” and Conway the Machine with “From King to a God”. Both of these projects is heavily played on my phone. This is the sort of jams I appreciate.

I have enjoyed the Crooked I & Joell Ortiz “H.A.R.D” project. That was a dope project and proved their standing. The Slaughterhouse MCs are still banging and together they are perfect blend of both coasts.

I preferred Jadakiss’s “Ignatius” over the long overdue project “Living Off Experience” from the LOX. Though that DMX 16 bars on one of their singles are worthy of 90s vibe. Jadakiss was the most personal in years and his tone was inspired through the album. This is why I can recommend this one too.

Another New Yorker and the late rapper Pop Smoke can with his posthumous release “Shoot for the Stars, Aim for the Moon”. Compared to the “Dior” and other previous tracks I heard from him. This was less gritty sounding and more poppy. Surely the 50 Cent production and executive producing is the reason for that. However, we can only imagine where he could go and that his voice will be missed in the years to come. Pop Smoke was special and was on the rise to become someone to reckon with.

Black Thought of the Roots returned with his series “Streams of Thought Volume 3.” it was a continuation and shows his relevance on the mic. These sort of projects doesn’t get the credit it deserves and seems like he isn’t either aiming for charts or the accolades. Only having fun and showing his bars. Which is fun for the listener, but he deserves some acknowledgement. Both this one and the second in the series is projects I listen to on the regular.

I am a fan of both T.I. and Young Jeezy. However, their projects this year haven’t been that inspiring. Neither “The L.I.B.R.A” or “Recession 2” have gotten replayed. I am considering giving it more time. As these are artists that I am listening to their older albums, but these aren’t sparking the same interest and maybe their ways of trying to fit in isn’t that sort of vibe I need. They are sort of coping with the trends, instead of setting it themselves.

A moment of nostalgia for me this year. Was listening to the Paul Wall and Lil Keke project “Slab Talk”. It is nothing deep for the veteran rappers of Houston. Their topics and their production is nothing unique. Just fun to feel their return and having the jams on. Reminded me of listening to Slim Thug and UGK. Music that is fun and not so serious.

Papoose also returned with “Endangered Species” proving why he was sought after and was someone to look out for back-in-the-day. The man can still write and show his fierce wordplay. However, the lack of single and push from a major record label. Is the reason why his lingering in the underground and isn’t pushed higher.

Big Sean’s “Detroit 2” was good and shows his growth as an artist. I can take him seriously now. However, I am not sure how much longer I will listen to it though. It’s not a masterpiece, but a great piece of work. Not just a “Culture” or for the radio with “ASS”. His becoming his own man and can be proud of his work.

One that was a downer compared to previous released projects was Tech N9NE “ENTERFEAR” album wasn’t so banging as in the past. I don’t know, but it didn’t have what I sought out for. Maybe, the same sort of style gets old. I really don’t know. Always looked out for more Tech Nina, but here he didn’t bring it for me…

Joyner Lucas dropped “ADHD” the longest album run with nearly every song dropped as singles and it did fall flat. The repetition and lack of various material made it a sombre listen. Joyner have some fun jams, but he overplayed it and didn’t do more of the Timbaland produces fun joints. If he had mixed it up. It might have gotten more traction for me.

He dropped later in the “Evolution” which is a much better album. If your listening to Joyner. Listen to Evolution where he also have “Thugs Needs Love Song” with Ashanti and his “Snitch” single too. Like his trying to compete with Obie Trice.

R,A. The Rugged Man returned after years without an album. This year he dropped the “All My Heroes Are Dead”. The bom-bap and fun sort of stuff. R.A. proves his skilled and has bars. That he doesn’t care about being trendy in the now. “Legendary Loser” is one of the most fun tracks of the year. “Golden Oldies” sounds like a Macklemore knock-off, but R.A. is himself and has dropped a good piece of work.

Mozzy the new “Scarface” of this generation have dropped the “Beyond Bulletproof” and is worthy of a listen. If you are into the gritty nitty and not the ones for the radio. Mozzy is himself and his worth a listen.

Megan Thee Stallion dropped two projects this year. That being “Suga” which I got tired of really quick. “Good News” came out lately and is more interesting, but she is missing a little touch and showing more skills. Megan have it if she wants too. However, ad-libs gets old and there is just so much flex a man can listen too.

Denzel Curry’s “Unlocked” is a fun EP or album. Not like its a move forward from TA1300. Denzel can be both brilliant and funny on the mic. He has shown that before and therefore, I always look forward to her something from the man. However, here there was some joints, but not bangers.

These are just a few. There was a lot more projects, but these are the ones I remember and that I have listen too. I have listen to other things too and I maybe drop that in a separate piece. As that is more Afro-Beat and more pop based music too.

This was my quick review of Hip Hop in 2020. I know there is a lot more to say and state. Nevertheless, I am not the one to listen to Lil Baby and DaBaby, even though others do. Peace.

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