ALBUM REVIEW: Shamon Dae – Brand New Dae (2020)

 

“Brand New Dae” is the newest project from Dayton, Ohio rapper Shamon Dae (formerly known as Cardiac) and a follow-up to his debut 2014 mixtape “28 Beats Later” under The Administrative Music Group, co-founded by Shamon and fellow rapper Phillip Nickelz. On that particular project, Shamon showcased his superb rapping abilities over, excluding the intro, 25 tracks (despite its title, which is actually a clever reference to the “28 Days Later” zombie horror duology, he doesn’t actually rap over 28 beats) of varying subject matter, instrumentals and guest features. Following the release of “28 Beats Later”, he became a YouTube content creator, posting new tracks, freestyles, song and music video reactions to indie artists and even motivational discussions on pursuing one’s dreams, particularly in music.

 

The subject of pursuing dreams permeates throughout “Brand New Dae”, as a majority of the album’s songs is centered on this common but still (for me) deeply personal theme. However, as the title suggests, the main focus of this album is Shamon’s artistic growth over the six-year gap between this project and “28 Beats Later”.

 

It’s easy to imagine the pressure an artist undergoes delivering something of value after a seemingly long absence. On the album’s intro, which features a dramatic, piano-driven beat (with an EXCELLENT trap-based beat-drop near the end) produced by Dre Manuel, Shamon addresses this issue to his listeners (“I will never put out product that is not up to a standard and up to par”). He follows this with an impressively poetic verse where he raps about how the turbulence in his environment shaped him to the man he is today and how he hopes to leave his mark on that same environment (“Some balance out the ice with the pills / I balance with the pen and the steel, That’s how reality feel / Through my eyes, I see my unborn with limitless skills / I was birthed from the dirt, so the return is just part of the deal”). I’m aware that some people avoid listening to intros simply because they want to get to the ‘first song’, but believe me: this is one of the best intros you’ll hear on an album ALL YEAR!

 

With the exception of production, the aforementioned six-year gap between projects feels almost non-existent thanks to Shamon’s top-notch lyricism. He maneuvers through each instrumental effortlessly with well-thought-out bars and well-executed delivery. Compared to the flat-out bar-fests of “28 Beats Later”, Shamon’s lyrics and subject matter are more thoughtful and mature, but with the same wit and charisma that made his last mixtape so entertaining.

 

As expected, there are a few motivational joints, like the track “All my Dreams” which has a breezy, optimistic instrumental from Sunny Lexington, heartfelt bars from Shamon about moving forward towards your goals and not letting your past mistakes obstruct you from achieving them (“You can….live in the past or let it fly away/ Let it hold you back or find another way / Doin’ better now, can’t live for yesterday / Baby, it’s a new year, Cheers for another day”) and a DOPE hook from guest performer Que’b Barksdale (I really dug his opening lines: “See, we just on some other shit / Ballin’ like Michael minus the bullshit”)

 

Another great motivational track is “Winner”, the final track and lead single off the album where Dre Manuel delivers a beat equally dramatic to his work on “Intro” AND a sung hook (didn’t see that one coming!), along with excerpts from a NBA-themed interview and appropriately passionate lyrics from Shamon himself. I really loved how he shouted out Michael Jordan and bonafide b-ball lover Spike Lee in the second verse (“Everybody want to be just like Mike / And have their story on the big screen, directed by Spike”). You can also interpret that second line as a reference to the late, great Kobe Bryant since Spike made a really decent documentary on him back in 2009 called “Kobe Doin’ Work”.

 

There’s also a few laid-back, R&B-esque cuts for the ladies, like the EXQUISITE “Excuse Me Miss” featuring guest crooner Big Kwan Don. Like the Jay-Z/ Pharrell collabo track of the same name, this song deals with love at first sight, and I dug how Shamon presents himself to the woman presently in his peripherals as someone who’s worked hard for the success he attained and wants to share it with her. I really appreciated the decision made to give Big Kwan Don (who I thought was delegated solely to hook duties) his OWN VERSE near the end of the song which, despite its short length, he slayed! Another R&B-esque standout was the song “Pain & Pleasure”, which incorporates a moody, nocturnal beat (I dug how the female vocals were brought into the mix from the beginning of the track) and the all-too-familiar theme of infidelity. Here, Shamon raps about the lust he feels for a woman already in a relationship, and though both parties are aware they’re doing the wrong thing, the woman herself (who sings on the hook) continually assures him: “Don’t complicate it, baby. Just let it breathe”.  As a morally complex look at cheating, this song really clicked with me!

 

We also get a couple of bangers on this album (a far departure from the large amount on “28 Beats Later”), the first being “50 After 50” which, at first, I thought was going to involve Shamon calling himself the next 50 Cent, but actually, as stated in its catchy-ass hook, deals with him living the daily grind he raps about and not saying it merely to get attention (“50 after 50, hundred after hundred / They just talk about it, real niggaz run it”).

 

The second banger, “Show Me”, finds Shamon in full braggadocious mode as he raps on the first verse about living life to the absolute fullest and getting your girl to strip down and drop it low in front of him and his crew! Alongside Shamon are guest rapper K. Carter and fellow Administrative Music Group emcee Phillip Nickelz, both of whom deliver cocky, crass and ultimately entertaining-as-hell verses. I imagine some listeners may find this track out of place with the songs preceding it, but as a throwback of sorts to “28 Beats Later”, Administration reunion of sorts and a simple, non-serious song to wild out to (the marching band-inspired beat from Dre Manuel is evident of that), this was a welcome change of pace.

 

Overall, I really enjoyed “Brand New Dae”. Though thematically and sonically, there wasn’t anything unique or out of the ordinary, the overall cohesiveness of the album, coupled with the consistency presented in its tracklist with regard to lyrics, themes and production, made for a truly satisfactory listening experience. Shamon Dae showed himself to be a truly gifted emcee on this album, and here’s hoping we get another great project from the Ohio native in the near-future! If you love quality in your rap music, then by all means, give “Brand New Dae” a listen!

 

OVERALL RATING: Decent to strong 4 out of 5 stars.

“Brand New Dae” is now available on iTunes, Spotify, Tidal, Pandora and most streaming platforms.

 

 

ALBUM REVIEW: DraMatiQue – Millionaire (2020)

 

“Millionaire” is the latest project from Sacramento rapper DraMatiQue (pronounced ‘dramatic’). Released by the indie hip-hop label Newborn Records LLC (of which DraMatiQue himself is the CEO), this is his first studio album and a follow-up to his mixtapes “Kill the Game” (hosted by DJ Omega Red) and “The Burn” (hosted by DJ Smoke).

 

A few weeks ago, I reviewed “Shot by Agony”, an album from Miami rapper/producer Agony that borrowed heavily from 2000s hip hop, but in an intelligent, respectful, ‘carrying on tradition’ manner as opposed to simple nostalgia, satire or parody.  I made mention of my strong belief that the vocal and production aesthetics of 2000s hip hop (which we can argue a majority of today’s trending rappers grew up on) will make a significant return and impact this decade. A few weeks later, I found another album to add to my ongoing case study, and as you may have guessed, it’s “Millionaire”.

 

Like “Shot by Agony”, this album draws lyrical, sonic and even sampling influences from 2000s (and to an extent, early to mid-2010s) hip hop. However, it establishes its own identity through passionate – and oftentimes dramatic (HA! Get it?) -performances from its host and guest performers, sticky hooks, sonically appealing, radio-friendly production and a shockingly noticeable absence of triplet flows! In other words, “Millionaire” aims for a more traditional approach to its style and sound, paying tribute to an era that might stay overshadowed by the still-influential 90s, but undeniably helped shape the hip hop we know and love today.

 

On the intro “Why We Rock”, DraMatiQue brilliantly sets up the aforementioned identity of “Millionaire” with a dramatic beat (produced by Real Beat Bangas) consisting of tense strings, pounding drums and crashing cymbals, a verse emphasizing his passion for the artform of hip hop and an emphatically-sung hook (yes, he does some singing on this project): “We cannot stop / Giving it all that we got / Do it for the love of hip hop / This is why we rock”.

 

Speaking of drama, “Millionaire” has its fair share of ‘dramatic moments’ in terms of subject matter and production. On the optimistic, inspirational track “The Moment” (produced by KloudNine Music), which features ad-libs from crooner Mic-Fone, DraMatiQue raps (and sings on the hook) about the steps he took and struggles he overcame towards this particular stage in his life and career. In an unexpected turn of events on the album, he shows the dark side to the path towards greatness on the track “Anxiety”, also produced by KloudNine and one of the album’s major highlights. Featuring great verses from rappers Lou-E Tha Don and IamF.A.M.E, DraMatiQue raps about how fear and anxiety can take a mental and physical toll on his life and career. The ominous synths and buzzing bassline on the instrumental add to the paranoia each rapper confronts on this track.

 

The ‘drama’ continues on “Who Really Want It”, easily one of the BEST tracks on this album thanks to its cinematic production (the climatic strings, trunk-rattling bass and Southern hip hop-influenced hook blend PERFECTLY on this beat) and aggressive verses from DraMatiQue and his guests Anthrax (not the rock band, mind you) and Haze. Things get emotional on the following track “Above Water” where DraMatiQue pines over a girl who rejected him despite his continuous efforts to treat her right. The deceptively feel-good instrumental works as a great contrast to DraMatiQue’s disenchanted lyrics, to the point that you can imagine him at a club arguing with his ex with this beat playing in the background.

 

Of course, not everything on “Millionaire” centers on aggression, anxiety and anguish. DraMatiQue flexes his lyrical muscles on this album, like on the track “Wake Up Call” where, over a ridiculously catchy beat produced by Genius Boy, he drops one witty, braggadocious line after another. On the third verse, he even drops the metaphor “The new Tone Loc – Funky Cold Medina”, which may fly over many young listeners’ heads but will make older heads chuckle (like I did) or smile at least. Similarly, on the song “Really Doe” (which has a bouncy instrumental provided by KloudNine), DraMatiQue takes shots at rappers who try but fail to reach the level he’s at as an emcee (“Time to ring it up, like we at the mall / Don’t get my words twisted, I ain’t mad at y’all / I’m bout to have it all, and y’all gon help me do it / Y’all make dumb shit, I make real music”)

 

There are tracks on “Millionaire” where, even though they didn’t take away from my overall enjoyment of each one, the inspiration behind a particular sample, production choice or concept is a tad bit noticeable. Take the extravagance-themed song “Money Makerz”, featuring Brewsta Million (I’m a 80s baby! I see what he did there) and Maximillie, which concludes with a scratched vocal sample from the intro to Rich Boy’s “Throw Some D’s” (still one of my favourite car songs EVER). On the subject of car songs, the track “Top Drop Back”, featuring Boss Game and Young Walter utilizes a sample from T-Rock’s “Pull up to Da Light” in the hook. And while I really enjoyed that particular song, especially the Southern hip-hop-esque beat from Real Beat Bangaz, I couldn’t help but be reminded of the Mannie Fresh-produced, T.I. track “Top Back” every time I listen to it – which, mind you, isn’t a bad thing.

 

The song “My Barz” has an irresistibly urgent beat by GeniusBoy and impressive delivery throughout by DraMatiQue, but also has a prominent vocal sample in the hook that’ll instantly remind you of Lil Wayne’s “A Milli”. Speaking of Weezy, one of his noteworthy lines from “A Milli” is used (quite EXCELLENTLY I must say) on the hook for the title track “Millionaire”. But in terms of the song’s universal theme of success and its undeniably upbeat delivery, both in its instrumental (arguably one of the best on this project) and motivational lyrics, Lil Wayne’s sample is merely the icing atop this….I don’t know…. gold-and-white-colored cake!

 

Overall, I think “Millionaire” is an impressively solid record. DraMatiQue’s honed skills as a rapper and songwriter shine throughout this project, and the guest performers and producers (all of whom did their damn jobs – and did them VERY well) succeed in providing the musical backdrops and lyrical support needed to make this album work. I’m definitely looking forward to more great music from DraMatiQue and his label in the near-future, and I’m anticipating more albums to add to my ‘2000s hip hop renaissance’ case study. In the meantime, if you’re a die-hard fan of the styles and sounds of 2000s and 2010s hip hop, or you simply want a break from the norm of today’s rap music, I highly recommend giving “Millionaire” a listen!

 

OVERALL RATING: Strong 3 ½ to a light 4 out of 5 stars.

BESS TRACKS: The Moment, Anxiety, Wake-Up Call, My Barz, Hit the Wall, Who Really Want It, Above Water, Money Makerz, Top Drop Back, Really Doe, Millionaire, Champion

LEAST BESS TRACK: Hangin’ On, Pretty Lil’ One

 

Listen to “Millionaire” in the digital platforms listed in the following link: ffm.to/millionaire2020

 

 

 

EP REVIEW: Mrk Sx – The 40 Year Old Rapper: Episode 2 (2020)

 

PREVIOUSLY ON “THE 40 YEAR OLD RAPPER”: “Within a 17-minute runtime, Mrk Sx delivers yet another solid, cohesive and highly enjoyable project with “The 40 Year Old Rapper: Episode 1”. His technical prowess behind the mic, knack for sticky hooks and ear for great beats are on full display here – all of which will (hopefully) give him staying power in the rap game. For newcomers, this EP is a good starting point for Mrk Sx and Dat Feelin’s music, but I strongly recommend checking out their previous work as well. But overall, if you’re the type who  prefers potent lyricism and emotionally effective beats over bland, generic, forgettable bars, hooks and beats, then “The 40 Year Old Rapper: Episode 1” is an absolute must-listen!”

 

“Episode 1” recap aside, let’s jump in to the latest episode of the “40 Year Old Rapper” EP series from Detroit-born, Atlanta-based rapper/producer/record label owner Mrk Sx. As I stated in my review of Episode 1, Mrk kept himself busy during the first few months of 2020 with the promotion of his album “Announcements are Overrated”, appearances on the “My Brother’s Keeper” EP from Kuniva and Swifty McVay and endorsement of the Get the Plugs brand of wireless earbuds.

 

Later this year, he worked with Detroit hip hop veteran Royce da 5”9 (where he served as producer) on “Good Life”, the lead single from “Episode 1”, in addition to collaborating with fellow Get the Plugs promoters Swifty McVay, KXNG Crooked, J. Irja the Sexy Psycho and DJ Quest on their “The Plugs” EP and Joell Ortiz and KXNG Crooked on their E.P. “H.A.R.D”.  Clearly, Mrk’s been having a hell of a year, and one that’s rather significant in his career for the simple fact that he’s 40 years old.

 

One can make the argument that Mrk’s musical output THIS YEAR easily rivals that of a rapper half his age in the same time frame. And even though he may not have the streaming numbers of your run-of-the-mill, trendsetter-of-the-week rapper, he more than makes up for that with quality songwriting, delivery and backing production. But the key aspect behind Mrk’s recent releases and collaborations is artistic growth; branching out more towards artists and producers he never worked with and continually refining his style to reach a wider audience.

 

Which brings us to “The 40 Year Old Rapper, Episode 2”, a 6-track project where, for the first time in Mrk’s discography, production is handled ENTIRELY by a group of foreign producers – in this case, a Ukrainian beatmaking team called JustChillBeats. As a connoisseur of sorts when it comes to European hip-hop production (especially lo-fi beats), I was genuinely curious to hear what these guys brought to the table on Mrk’s new project.

 

And if there’s one area where this EP excels (slightly, mind you) over its predecessor, it’s the production! Yes, I know various producers worked on “Episode 1”, but because Mrk worked with one team on this project, you can hear a near-uniform level of cohesion and quality in these beats. No element of these instrumentals feels out-of-place or unnecessary.

 

Like “Episode 1”, this project opens with a BANGER – and with “M.A.M.B.A” (Mastery Above Man’s Best Attempts), which is both the lead single of this project and a reference to the “Black Mamba” moniker of the late, great Kobe Bryant – I think Mrk outdid himself! Backed by a hard-hitting trap beat with some colourful synths (which sound like they were ripped from the final stage of a 80s video game), Mrk delivers one masterfully-delivered triplet flow after another. He even shouts out Get the Plugs (sort of) in the hook: “I AM THE PLUG!”  Overall, this was a hell of a great way to kick off the EP!

 

On the following track, and second single off the EP, “Clock Out”, Mrk pays tribute to the essential workers who are unable to take days off to partake in the current Black Lives Matter rallies or quarantine themselves from COVID-19. Mrk raps from the perspective of an essential worker being talked down and misunderstood by someone who knows, critiquing this individual on the little he knows about Mrk’s grind, and concluding each verse with “It’s 5 ‘til, you can rob, steal / Bitch, I’m outta here”. I dug the stuttering hi-hats and heavy bassline on the beat, along with Mrk’s animated delivery and catchy hook (one of his many strengths), all of which are guaranteed to make you dance in the same intentionally silly way Mrk does on the music video (Go check it out if you haven’t already. Don’t worry. I’ll wait)

 

The following track “Lmao” gives us a bright, sunny instrumental with some pleasant guitar strumming in the background. Here, Mrk raps about reaping the rewards of his hard work and hustle, while telling his girl to stop letting stress get the better of her and adopt a more optimistic, goal-driven approach to life instead – hence the incredibly irresistible “LMFAO” chorus. It was kind of weird hearing “LMFAO” on the hook even though the song’s title is “Lmao”, but that’s just a minor nitpick.

 

In the second half of the EP, we get a couple of tracks dedicated to the ladies. “Right Now” presents a smooth, nocturnal, radio-friendly beat and, to my surprise, a hip hop/R&B love song with some GREAT singing and rapping from Mrk and the exquisite backing vocals of Larq, the sole guest performer on the EP. The vocal chemistry between the two artists ALONE makes this track an instant standout. On the following track “La Ny”, we get a glossy instrumental which acts as the perfect backdrop for Mrk’s playful lyrics centered on the high-standard spending habits of his girl. Apparently, she has no problem flying back and forth from Los Angeles to New York to go shopping! No shame in her game indeed!

 

The closing song “Knew Me Know Me” is technically the most serious on the EP, though it’s less introspective and more braggadocious compared to what we got on “Good Life” off “Episode 1”. Over a mellow, head-nodding beat, Mrk closes this ‘episode’ with a very RELATABLE anti-hater anthem, specifically aimed at individuals who decide to reach out to him months and years after he began to pursue his dreams, eager to hear how he failed at his pursuits. Lyrically, this song is great from beginning to end, but I particularly enjoyed the opening where we hear a phone message on Mrk’s phone, where he says “If I ain’t talked to you in link 6 months plus, and what you calling me about is some shit to help you, don’t leave a message actually”. Come to think of it, I really should change my phone message to something similar.

 

 

Overall, I enjoyed “The 40 Year Old Rapper, Episode 2” a bit more than “Episode 1”, mainly due to its feel-good, mostly upbeat vibe (which, considering the turbulent times we’re in at the moment, I can imagine making for great summertime music) provided by JustChillBeats. Mrk walks out a winner in this EP thanks to his sharp songwriting, effortless flows and sticky hooks, all of which were stepped up considerably on this project! If you enjoyed “Episode 1”, then you’ll find much to appreciate and enjoy here. What will happen next in the next episode of “The 40 Year Old Rapper”? Tune in next time, same streaming time, same streaming platforms!

 

OVERALL RATING: Strong 4 out of 5 stars.

 

ALBUM REVIEW: Agony “The Secret Weapon” – Shot by Agony (2020)

 

“Shot by Agony” is the newest record from Miami rapper/producer Agony “The Secret Weapon”. One of the members of the Miami hip-hop collective Common Ground, he recently took part in an eight-part podcast chronicling the history of the crew entitled “Common Ground: An Audio Documentary” (which I’m currently checking out via the Human Sushi YouTube channel). Two members of Common Ground appear on this album, one – to quote Busta Rhymes from the “Scenario” remix – in physical form and one in spiritual essence. More on those two in a bit.

 

The main focus of this review is 2000s hip hop, which “Shot by Agony” owes its style and sound to. The still-influential lyrical and beatmaking styles of 90s hip hop managed to integrate themselves into the rap music of the past decade, for example, the discographies of rapper Joey Bada$$ and his Pro Era crew and the boom bap-based sounds of producer Statik Selektah. But I’ve always made the argument that the styles and sounds of 2000s hip hop (like the wild, call-and-response formula of crunk music, the soulful beats of alternative/”backpack” rap or the club-oriented, trunk-rattling production from beatmakers like Just Blaze or Trak Starz) will make a significant return this decade to the current landscape of rap music.

 

And while we as rap fans still hold on to 90s hip hop (and to an extent, 80s, golden age hip hop) for inspiration, it’s hard to deny the influence of 2000s hip hop on our musical upbringing. Hell, the young rappers currently in the game GREW UP on artists like Ludacris, Lil Jon, 50 Cent and Eminem, among others.

 

Which leads us to “Shot by Agony”, whose vocal and production aesthetics are reminiscent of the hip hop which dominated the airwaves in the 2000s, but thankfully not in a satirical, parodic or overly nostalgic fashion. The opening track “Gives a Fuck” perfectly sets the tone of the album, with its club-designed beat (I especially dug the chugging melody of the keys), punchline-laced verses delivered by Agony and catchy-as-hell hook. On this and other tracks on the album, he’ll throw a witty, blink-and-you-miss-it pop culture reference at listeners like “Samurai shit, kung-fu grip you / Man, the flow so cold, it leave Frozone crippled”

 

Agony returns to the club on the penultimate track “Back it Up” which has a very noticeable Jay-Z vocal sample (It’s derived from the irresistible, Neptunes-produced song “Change Clothes”) and a bouncy AF beat which instantaneously will get butts off chairs and onto dance floors. And as a side note, I agree with Agony on the outro. The DJ is full of shit if he doesn’t play this!

 

On the subject of 90s hip hop, the track “All Day” delivers a head-nodding, East Coast-inspired boom-bap beat – which, as a fan of that style of that production, was definitely up my alley! This track features Agony’s fellow Common Ground comrade Shottie who REALLY impressed me on this album with his sharp wordplay and assertive presence behind the mic. Shottie also delivers a standout verse on the track “Say What You Wanna”, which has easily one of the BEST instrumentals on the album, with its C-walk-inducing, low rider stereo-blasting, West Coast-inspired beat.

 

Agony also showcases his talent for vivid storytelling, like on the track “A Little Mo” where he raps about running into the same woman three times after work, on his way to perform at a club and at the club itself. But his storytelling truly shines on the track “Hey Brooklyn”, a heartfelt tribute to the New York borough he was born in. Over a fantastic instrumental which instantly conjures up the ‘concrete jungle’ feel of Brooklyn, Agony creates a lyrical portrait of his former home that is so detailed, you can imagine yourself in each and every scenario presented  on this track.

 

Though Agony displays a cocky, confident demeanor on a majority of tracks, there are a few moments where he shows a level of vulnerability. On “You Can’t Change Me”, Agony raps to his ex about why their relationship didn’t work and why he refuses to have her change him Thanks to the song’s theme and its sung/rapped vocals, I can’t help but think of Eminem’s post-“Eminem Show” heartbreak songs every time I listen to this particular track.

 

His vulnerability as a rapper is on full display on “Little Orphan Agony” where, in some of the album’s best songwriting, he uses the figure of an adoptive mother to represent hip hop. Agony brilliantly sets up the dramatic tone of the song in the intro (“It was at an early age that you adopted me/ But somehow, throughout the years / something tore us apart”) and at that point, proceeds to rap about trying to please his ‘mother’ over the years of his rap career (i.e. being the best rapper he can possibly be, writing the best rhymes etc.), but never quite succeeding.

 

On the second verse, he attributes this to the ever-evolving nature of hip hop: “I kept it true to you / Why can’t you keep it true to me / Truthfully, maybe your taste has changed or there’s just no room for me or / You just change with the times / But you’re so much more than a vibe / You’re so much more than a beat / It’s the words on the track that bring you alive”. But it’s the last couplet that really connected with me, where he spits “And I got faith that you might surprise me on one of these nights / and put an end to this hype”. I read that as Agony waiting for the moment his tenure as ‘unsigned hype’ (GET IT?) concludes by receiving a tangible symbol of success – a record deal.

 

Agony explores his significance in the modern rap landscape on the track “I Ain’t Too Old”, whose Dr. Dre-inspired beat will automatically take you back to the days “The Watcher” BLASTED from your stereo on a daily basis (I chuckle every time I hear Agony say on the intro “I got me a Dre beat, kid!”). This is easily the most HILARIOUS track on the album, with its self-referential humor and admittedly well-deserved jabs at young rappers and trend-seekers who disregard the music of yesteryear.

 

The standout moment on this track is where Agony spits: “‘Cuz this music’s like a drug to me / I don’t like to play around. I don’t fuck, I make love to beats / But I guess that comes with experience / You talkin’ to a man who grew up on ‘Eddie Murphy: Delirious’ / And that’s the problem with these jits / Cuz I can tell them “Goonie-goo-goo” and it don’t mean shit / But they can rap about the new dance, jiggle their pants / And it just seem like the whole world flip…”.  If you’re familiar with that “Goonie-goo-goo” moment from “Eddie Murphy: Delirious” (arguably one of the funniest stand-up comedy films…. EVER), I imagine you’ll be impressed by the clever ways Agony makes mention of his Latino ethnicity and the fact that his deep passion for a mostly African-American musical genre means little to nothing to those aforementioned young rappers and trend-seekers. The hook is very 2000s, but it adds to the overall charm and fun of the song which, yes, I ABSOLUTELY LOVE!

 

The closing track “Why (Dedication to Cash)” is a tribute to Agony’s late cousin (and former member of Common Ground) Ca$h Wonder. As I alluded to at the start of this review, Ca$h appears on this track – in this case through some well-chosen ad-libs, giving the impression that his spirit is in the booth, complimenting Agony as he raps about what they meant to each other in their individual careers and lives. Not only is “Why” the most emotional track on “Shot by Agony” but it’s a genuinely powerful and heartfelt way to conclude the album as well.

 

Ultimately, I found myself enjoying “Shot by Agony” way more than I expected, thanks in part to its top-notch production, commanding presence behind the mic from “The Secret Weapon”, impressive guest features, versatility with regards to lyrics, themes and beats, and of course, CONSISTENCY. Here’s hoping the kind folks at Common Ground stay true to their style and sound whilst creatively and smartly changing with the times, and I definitely can’t wait to hear what they do next! If you call yourself a true hip-hop head, I highly recommend checking out “Shot by Agony”!

 

OVERALL RATING: Decent to strong 4 out of 5 stars.

BESS TRACKS: All Day, Little Orphan Agony, Say What you Wanna, Hey Brooklyn, I Ain’t Too Old, Why (Dedication to Cash)

LEAST BESS TRACK: You Can’t Change Me

TRACK REVIEW: Money Ransoms – Manage Her (2020)

 

“Heeeey buddy, did you hear the news?”  Lame AF Anthony Fantano Track Reviews reference aside, yes folks, this is actually the FIRST track review I’ve done since I started reviewing music! And what better way to kick that off than with a dancehall – or should I say “traphall” track – from Jamaican-born artist Money Ransoms.

 

The fusion of Jamaican dancehall with international musical genres like R&B and hip hop is nothing new – whether it’s the music of Mad Lion and Born Jamericans in the 90s, Sean Paul and Shaggy in the 2000s and quite recently, Grammy winner Koffee. Which leads us to “traphall” (I won’t even bother querying who coined that term first) where the production and vocal inflections of trap music and artists are merged with the trendy sounds and vocals of modern dancehall. And on “Manage Her”, a single from Money Ransoms’ recently-released mixtape “Money Ransoms, Vol. 2”, that’s pretty much what you get!

 

Over a smooth, nocturnal beat and after an intro performed by Money Ransoms himself (which instantaneously sets the tone and mood of the song), he delivers some verbal foreplay to his girl throughout the course of the song’s runtime. He utilizes an effective roleplaying scenario where he imagines himself as a manager (for argument’s sake, we’ll say he’s involved in music) having a private interview with a new act before signing her (“Twerk, twerk, you haffi pass the interview first”).

 

Of course, with a song of this nature, he keeps his lyrics simple, direct and sexually stimulating – like on the hook when he sings “Mih manage her, manage her / Lay her down and damage her, damage her / Love it when yuh take it off and show it off / Love it when you drop yuh drawers, baby”. On the track, he’ll drop a double entendre or two like “Show me your network, then mih show you my net worth” or follow a risqué line with a double entendre, like on the first verse where he sings “Slow wine on mih car window / Back it up, show me how the parking go”.

 

In terms of delivery, attitude and tone of voice, Money Ransoms shines on this track. He’s cocky, assertive and gives the impression that he knows exactly the right words to get his girl in the mood. The trap-assisted instrumental and auto tune-laced vocals add to the “traphall” vibe of “Manage Her”, giving the track the crossover appeal it rightfully deserves.

 

As for gripes (this is a minor one, mind you), I felt the song could’ve capitalized a bit more on the manager/talent concept presented. The first verse in particular would’ve been a great point on the track to set up why this woman made the right choice with Money Ransoms to begin with. Gripe aside, this was a pretty solid track. It’s simple, straightforward and sensual, and I can see it making its way in many driving-home-from-work, nightclub and bedroom playlists in the near-future.

 

LISTEN TO THE SONG HERE: