“Spit It” starts things off right with one of the best tracks on the entire album. The beat provided by Memo of the Molemen is accompanied by vocals from Spotlite, D. Rashad (aka Capital D) and guest mc Prime. Everyone absolutely smashes this track, and Memo comes thru lovely on the production tip. “Motive” features one of the best-produced tracks courtesy of newcomer Madd Crates. The thick beat is accompanied by an infectious violin loop that Capital D and Spotlite flip appropriately. “Simple Words” is the album’s only solo track, handled by Rita J with cuts by Tone B. Nimble. This track proves that heads not only need to look out for Madd Crates on production, but also Rita J as a skilled MC. It’s refreshing to hear a good female MC, and her presence on the album brings the right balance to the Family Tree crew.   “Buddy Live” is a live Family Tree performance of the crew doing their own version of the De La Soul classic, which they flip Family Tree style. “I Am” is a hard hitting cut with Mr. Greenweedz and Iomos Marad once again letting the listener know who they are, while His-Panik holds it down nicely on the boards.

All in all, the Family Tree crew has truly created an impressive album from beginning to end with no filler material, zero lackluster beats, and not one weak link. Tree House Rock proves that we have a lot to look forward to from Chicago and the All Natural Inc. label.


Following a mixtape format, the album is a good introduction to those that may have been introduced to Ill Bill by way of his Non Phixion material. Many of the tracks have already been released on other projects, and over half of the album consists of various freestyles that Bill has ripped throughout the years. One of those previously released tracks, “Simian Drugs” gets the LP off to a raucous beginning featuring Ill Bill joining forces with El-P, as their chemistry definitely warrants hitting the playback button a few times. “Circle of Tyrants” is a dope posse cut featuring Ill Bill’s brother Necro, as well as Mr. Hyde, Goretex, and Carnage showcasing the usual guns, drugs, and face-slicing references that the crew has seemingly perfected.

The Scarface influenced “Yae Yo” featuring the Beatnuts and Problemz is a well-produced cut, featuring a dope flute sample and thumping drums that go fit the all-star lineup perfectly. On “Gangsta Rap”, Ill Bill raps about ghetto life and drug hustling. But even if you can’t relate to the subject matter, the production on the track is one of the albums best with a sick piano loop and well-matched horn samples. “Indy 5000 Freestyle” is one of the tracks on the album that you can actually tell is a freestyle, while many of the other “freestyles” on the album feature backup vocals and scratch-choruses which make them more like on-the-spot songs. But either way, each track, freestyle or not, will have your head nodding.

By the last track, all the gun and knife talk gets a little tiring, but there’s no debating that the album does a good job of highlighting Ill Bill’s best solo work. Ill Bill is the Future may disappoint those who may be looking for all new Ill Bill material, but it does serve as a good compilation of tracks and freestyles that will at least hold fans over until that official full-length drops.

With that in mind, Asia is back to making the underground rounds once again with Still In Training and things start off right with “Rock Tha Mic”, which is a very laid back, but bouncy track with Asia doing just as the title suggest. In what quickly becomes a recurrence, Asia’s lyrics rarely go beyond the realm of detailing how dope he is; exemplified by “Breakin’ Shit Down”, “I Spit Flows”, “M-16 Ammunition”, and “Doin’ What We Do Remix.” There’s nothing wrong with bragging and boasting, but how many ways can you really say you’re dope?

But that’s not to say that there aren’t any conceptual tracks on Still in Training. On the Illmatic influenced “Fresno State Of Mind”, Asia raps about his stomping ground, taking you through an average day in the neighborhood. Asia expands further with “Keep Movin’”, which is an analytical look at the black experience in America today. It is worth mentioned that these are the two standout tracks on the album, and should go to show that Asia has the potential to create a truly classic album if he were to stray away from creating an album that is almost 90% battle-oriented tracks and incorporated more conceptual themes. Other notable tracks include “Charcoal” which features a dope piano loop and impressive cuts by DJ Revolution. “Mi Nuh Left It” is the track to best rattle your jeep speakers with a thumping beat accompanied by Madd Dogg, who brings the Rasta feel that suits the track perfectly. 

Unfortunately, there are also certain tracks that should have been left on the cutting room floor with the guts left over from Asia’s blunts. “Keep Ya Ass Shakin’” is just as corny as the title implies and while “Doing What We Do” is lyrically dope, the beat and hook leaves much to be desired. 

There’s no denying Planet Asia has skill, and there’s no denying he makes that clear on this full-length. Still in Training has that distinct Cali sound that will not disappoint the heads that appreciate the West Coast vibe, but were still left waiting for Asia to truly hone his craft and deliver us the LP that once and for all lives up to his vast potential. 

From the very first track, “Intro: Yo Boot Camp!”, the BCC acknowledges they haven’t been on the scene for a minute, but assure their fans that its still the same BCC that helped shape the sound of underground hiphop in the 1990s. “And So” undoubtedly the albums best track, addresses the issue of coming back on the scene, backed with the albums best production courtesy of Curt Cazal.

Throughout the album, production seems to make or break the tracks. The lyrics are nearly always on point, and many will be happy to again hear the frequent references to “Bucktown” and “B-double O” throughout the album. The Alchemist comes nice with production for “Down 2 Bizness”, as the BCC addresses the fans, as well any haters, who’ve been talking about the camp and how they’ve changed. “Had It Up 2 Here” featuring Illa Noyz and produced by Beatminerz has the click saying how sick they of people (particularly those in the music business) as well as racist cops and fake thugs. While the jury is still out on the hook, the beat and lyrics make this one of the tightest tracks on the album.

Conceptual songs even sneak in on The Chosen Few, namely “Daddy Wanna”, with the BCC rapping about deadbeat dads and baby mommas. “Think Back” has the crew reminiscing back to the late 70′s up to the early 90′s when the crew was growing up, referencing everything from Def Comedy Jam to the “itty-bitty-titty-committee.”

In short, this album will not disappoint. Besides a few lazy verses and one or two bland beats, this album has few shortcomings. It is also refreshing to hear music from a crew that is (at least in part) responsible for making underground hiphop what it is today.

With all of the accolades, one might think a group would start getting lazy and fall victim to the sophomore slump. Fortunately, this is not the case with Dangerous Connection. While 7L & Esoteric’s debut Soul Purpose had its fair share of conceptual tracks, their sophomore release is chockfull of them. The track likely to catch the most attention is the Stoupe-produced “Terrorists Cell”, where Esoteric raps from the viewpoint of a terrorist preparing to hijack a flight out of Boston’s Logan airport. While it’s a touchy subject, Eso is able to pull it off in a respectable way through his intriguing tale of a terrorist’s thoughts as he moves through the airport, passes security, boards the plane and ultimately braces for impact. Other conceptual tracks that are pulled off well include “Word Association”, where Eso raps as a patient during a session with his therapist, and “Stalker”, where an obsessed Eso stalks his female prey.

For those that are into the more battle-oriented 7L & Esoteric tracks (i.e. Army Of The Pharaohs), there are several gems in store for you too.  “Speak Now” features both Esoteric and Vinnie Paz going for the jugular as 7L hooks up a serious headnodder that fits the mcs perfectly. This track, along with “Rules Of Engagement” and “Rest In Peace” produced by Kutmasta Kurt, are arguably the best tracks on the album.

With Dangerous Connection, the duo of 7L & Esoteric have solidified their own distinct sound. This consistent sound may be due  to the fact that 7L produced ten of the thirteen tracks or it could be the fact that the album isn’t flooded with guest appearances. Whatever the reason, the group has shown improvement since The Soul Purpose, and the mix of conceptual and traditional battle tracks makes the album an enjoyable listen from beginning to end.

After first listening to Project Overground, many may notice their unmistakable similarity to fellow New Yorkers the Bush Babees (which of course isn’t an altogether bad thing). The comparison is most easily drawn after listening to such tracks as “Original Rap”, which features a bouncy (but bland) beat with the crew rapping about the evils of today’s hip-hop music. Unfortunately the songs cliche subject matter and the ironically unoriginal hook of “what ever happened to original rap/what ever happened to original rap songs?” sinks this otherwise decent track.

What is perhaps the biggest flaw of the album is just how similar all of the beats sound. A good example is how, with the help of a slightly different drum track and a few random samples, the beat for “Ancient Rituals II (Ain’t Nuttin)” seems to be the beat for “Alphabet Soup” in disguise.

Not surprisingly, it’s those tracks that do not sound so much the same that stand out and ultimately serve as the album’s high points. “Scienz Of Life (Metaphysics 2030)” features ID4 , Lil Sci, and Inspector Willabee coming nice over a laid-back but tight piano sample, making it easily the best track on Project Overground. Not too far behind is “Anthology: A Tribute to Music”, which is a perfectly executed tribute to the music that has inspired the crew throughout their lives.

While Scienz of Life may not be the most clever group of emcees, the group has no problem with writing songs that perfectly suit their production, which gives them their distinct jazzy soul vibe. Project Overground is a somewhat solid album with a couple tracks worthy of heavy rotation, and several others that you may swear you just heard on the track before.

It’s obvious these cats are not only tight lyricists, but smart businessmen as well, employing such heavyweights as the Alchemist, The Beatnuts, and their former collaborator Buckwild for their debut full-length. But don’t get it twisted, the other producers on the album are not to be overshadowed, as with “Think Big (Get Big)” produced by the Smith Bros., which features a simple but tight piano loop and thumping bass. The mc’s don’t fail on their end either, delivering tight (if not thugged out) battle raps that flow perfectly over the melodic production. Putting two bangers back to back, the next song “Hard Times” features a nice, laid back track produced by Psycho Les of The Beatnuts, perfectly suited for playing at the summer barbeque, even if the subject matter isn’t quite as festive. “Johnny” produced by the Alchemist and “What Side You On” produced by Buckwild, along with the other two aforementioned tracks, definitely prove to be the standouts of this 20-track album.

Although the album has proven to have many things going for it, it is not without flaws. “Dan-Sin Teardrops” features a sample Jedi Mind Tricks fans may recognize from their track “Retaliation”, and although it’s a tight sample and the lyrics are on point, the drums stand out so much that they become a distraction. Also, “Tell Me” and “F#ck Yall” features the crew switching up to a more “Po-Pimp” delivery, which, while serving as a nice testament to their versatility, are tracks that seem inconsistent with the rest of the album.

All in all, Scripturewon: The Beginning is certainly a promising debut from a crew that has already proven their resoluteness in the rap game. It packs tight production, sharp lyrics, and undeniable street flavor that are definitely a must for any Mobb Deep, Screwball, or Infamous Mobb fan. With that said, this album probably isn’t for those who don’t appreciate the more thugged out/street flavor, but it is certain to not let down the average hip-hop head.