Though artists tend to stand by their work, it's not uncommon for them to re-evaluate their takes in hindsight. For KXNG Crooked, veteran rapper and member of the legendary quartet Slaughterhouse, his discography has become quite massive throughout the years. Seeing as he's become one of the more interactive rappers on Twitter, directly engaging with his fans about hip-hop history, his own career, and the art of rap in general, he ended up fielding an interesting question about the one song he'd like to delete from his memory banks.

Johnny Nunez/WireImage/Getty Images

After being asked about a song that still haunts him to this day, Crook took things back to the Slaughterhouse Shady Records debut album Welcome To Our House.  "Slaughterhouse “Throw It Away," he admits. "I think the song’s title was trying to tell us something." Though he didn't elaborate much more than that, many fans were quick to point out how the track was ultimately a single, complete with a music video at that. Knowing what we know now, it stands to reason that Crook must have been outvoted on that particular front.

Regardless of how you feel about the dEnAun produced track, which also features a chorus from Swizz Beatz, it's still cool to see Crooked speaking openly on his musical journey. You have to admire a rapper willing to take a step back and reflect on the missteps, so much respect to Crook for answering the question in the first place. How do you feel about "Throw It Away" after all these years?

Two beasts on the mic have cooked up something special in the booth, and it’s shaping up to be something memorable. Slaughterhouse brothers Joell Ortiz and KXNG CROOKED recently announced that they were releasing a joint project titled H.A.R.D. and later dropped the lead single of the same name. The two rappers are celebrated in hip hop for their undeniable talent, so they’ve come together to craft a record that fans are already calling brilliant without even hearing it.

“’We met each other on a magazine cover.. It’s like God told us we had to be brothers..’ – @kxngcrooked,” Joell Ortiz wrote in a caption of an Instagram photo that showed the album’s Ronald Regan-inspired cover art. “Perfect way to set off our ‘H.A.R.D’ EP dropping 5/29 !!!! Pre-order link in bio. Yaowaaaa!!!” 

Production credits include looks from Erick Sermon, The HeatMakerz, J.U.S.T.I.C.E. League, Boogeyman, Ill Mind, and Apollo Brown. The eight-track EP only lists two features from Blakk Soul and MRK SX. Check out the tracklist below and let us know if you’re keeping a keen eye out for this one.

Tracklist

1. H.A.R.D. ft. MRK SX
2. Get Ya Money
3. Candy Bump (LBC)
4. Catchin’ Bodies
5. Lose My Mind ft. Blakk Soul
6. Wolves (BKLYN)
7. Lovely
8. Memorial Day

The eternal shelving of Slaughterhouse‘s sophomoric Shady album Glass House remains one of hip-hop’s great tragedies, especially given that it doesn’t appear likely we’ll ever get our hands on it. Especially not after the way Joe Budden and Eminemwent from collaborators to rivals, exchanging shots on records and podcasts alike. Yet, perhaps foolishly to be sure, fans have decided to remain hopeful that Slaughterhouse will rise again — even if it is by way of a years-old release.

Speaking on the My Expert Opinion podcast, Royce opened up about the status of the lost project, and what might need to occur before it stands a chance at releasing. As expected, Joe Budden plays a pivotal role in the saga, though Royce is clear to absolve him of all the blame. “There wasn’t always an issue between Joe and Shady,” he explains. “The issue with Joe and Shady now is just the way he voiced his opinion about Marshall’s album. Marshall didn’t like that. It wasn’t because he had an opinion about Marshall’s album, it was the way he publicly voiced it. I actually had a problem with that too. But me and Joe spoke about it.” 

Jamie McCarthy/Getty Images

Though Budden did apologize to Royce for putting him in an awkward position, Em has yet to receive the same treatment — a point that Royce is quick to point out. Even prior to the whole Revival-Gate incident, however, the Glass House album was facing a fair number of challenges. “There were things behind the scenes going on that brought certain vibes into the studio as well,” continues Royce. “Two people had some disagreements and some business dealings separate. I’m not gonna say who those two people were. And that caused a little something and then everybody in the group decided to go do separate albums.”

As for now, the group remains signed to Shady Records, inactive though they may be. “[Jpe] wants to get it released from Shady because he doesn’t want to release it through them,” says Royce. “But he’s basically saying he’ll still play ball. You know, ownership is a big thing to Joe right now. He’s evolving. Just in terms of understanding the importance of equity. He looks at the brand as something we built, which we did, you know.” As to whether Slaughterhouse will ever be able to come together on the same page, Royce isn’t entirely ruling it out – provided everybody is fully on board to commit.

“If we are not gonna do the album then I don’t even want to have conversations unless I know that everybody’s down to rap,” he clarifies. “I don’t want to force anybody to rap, man. Joe’s having a good time doing what he’s doing, Crook is super successful. Joell Ortiz just got married. I mean, I’m just happy where everybody is, where we are as men. I’m happy about that.”

While the collaboration album seemed to have been unceremoniously snuffed out in 2017, due to an overwhelming supply and not nearly enough demand, KXNG Crooked has pitched an idea destined to have hip-hop heads salivating. Taking to Twitter to field a variety of fan questions, the elite Slaughterhouse lyricist took a moment to address one fan's request for a KXNG Crooked & Eminem collaboration album, molded in the same vein as Bad Meets Evil.

Johnny Nunez/WireImage/Getty Images 

Crook came through with a surprisingly optimistic response, writing that he would indeed do his part in making the partnership happen. "When social distancing is over let’s all go to Detroit and speak to him about this. I’m serious. Who’s with me?" he writes, thus sparking a new wave of hope in this dark and trying time.

Of course, it should be noted that the fate of Bad Meets Evil 2 is still uncertain, and it might be difficult for Eminem to balance a pair of partnerships at the same time. Yet Em has spoken nothing but highly of Crook's pen, all but gushing over the Slaughterhouse rapper's pedigree during their sit-down on Crook's Corner. Last we saw, Em and Crook were linking up on Music To Be Murdered By's "I Will," a miniature Slaughterhouse reunion, save for Joe Budden -- perhaps, if Em and Crook do link up for a joint album, they can bury the hatchet once and for all and coax Budden out of retirement.

Even if you're an accomplished rapper like Lupe Fiasco, boasting a repertoire of classic records and aspirations to become the fourth member of Slaughterhouse, the harsh sting of rejection remains one of life's biggest unpleasantries. Unfortunately for the Drogas Wave emcee, his request to replace Joe Budden as Slaughterhouse's fourth member was met with a kind rejection from Royce Da 5'9", who explained the reasoning behind the decision during a HipHopDX interview. 
 

Maintaining that Slaughterhouse is more than just a gathering of lyrical elites, but rather an established dynamic, Royce made it clear that Lupe wasn't lacking in his credentials. "He's no group replacement guy. He's great. He's not just an emcee, he's a master," he breaks down. "It's not just lyrically what makes Slaughterhouse click. It's something about the dynamic of us four people. There's even still things about that dynamic that people are drawn to that I still haven't figured out and I'm one of the people who was instrumental in pushing for us to be a group."

Unfortunately, the "it's not you, it's me" approach did little in letting Lupe down easy. Dreams shattered, Fiasco took to Twitter to fire off a bombardment of memes in response. Beginning with the classic "Crying Jordan," Lupe eased in with a familiar face, asserting his tone to be firmly tongue in cheek. Next up came another crying gentleman, this one equipped with some accompanying wordplay. 

The history between Lupe Fiasco and Joe Budden is riddled with scathing words and heated exchanges, but when Lupe joked that he would take over the podcast host's vacant Slaughterhouse spot, hip hop fans were divided. Many who are hoping for another Slaughterhouse project seemed eager to entertain such a possibility, while others couldn't see anyone taking Budden's place. Royce Da 5'9" was recently questioned about Lupe's suggestion, and we'll let you guess what side he's on.

Following a standout collaboration on the gold-certified Music To Be Murdered By, Eminem and KXNG Crooked will be reuniting once again -- albeit in a different capacity together. This Friday Slim is set to sit down for a conversation on Crook's Corner, marking his first major interview since 2018's four-part Kamikaze talk with Sway Calloway and his lengthy conversation with LL Cool J on Rock The Bells Radio. 
 

In many ways, Crook's Corner is the perfect platform for Eminem. A place for two rap nerds to discuss the craft free from ulterior motives. It's clear that Crook holds Em in high regard, having defended his honor during the infamous Joe Budden beef, and the pair have been steadily building on their collaborations. Following "I Will," we've already seen songs like "Loud Noises," "Session One" "Psychopath Killer," and "Our House" showcase their chemistry on wax.

As of this moment it's unclear as to what the interview will cover, but fans of both artists and hip-hop as an artistic medium will likely want to catch this one on Friday. As far as technical ability is concerned, Eminem and Crook are elite in every category, ranging from flow to punchlines -- it should be interesting to hear their thoughts on the current state of the game. It's going to be a big day for Slaughterhouse fans, who can check this out before or after peeping that new Royce Da 5'9" album The Allegory, on which Crooked himself is set to appear. 

Slaughterhouse may be on a permanent hiatus, but that doesn’t mean that members of the collective aren’t still on good terms with the Shady Records founder. Royce Da 5’9″ has continued to maintain a personal and professional working relationship with Eminem throughout the years, and the rapper was recently asked if he prefers to hit the studio alone or to collaborate with other artists. In an interview with DJ Smallz, Royce used Em, Preme, and Slaughterhouse to explain the differences in how much work is put into a project.

Jamie McCarthy / Staff / Getty Images

“I don’t prefer one over the other,” Royce said. “Slaughterhouse, I gotta do a little more work. When I’m working with Marshall, I don’t have to do as much work. When I’m working with Preme, I still don’t have to do as much work because he’s gon’ make all the beats. He’s gon’ mix everything. I get a little meticulous when it comes to approving mixes, but outside of that, all I really gotta do is rap in those two situations. So, that’s one of the things that makes those two situations…it makes me look forward to doing them.“

“Now, the Slaughterhouse thing, it’s an interesting situation because it’s something that we built,” Royce continued. “It’s something that we built that some people didn’t believe in. So, it’s always sweeter being in that kinda situation. It’s more of us, there’s other rapper, more than just one other rapper.” He interrupted his thought to say that he doesn’t even classify Eminem as an emcee.

“Em ain’t even a rapper no more,” Royce stated. “He’s like a superhero.” He moved on to once again speaking about Slaughterhouse, saying that it was “a lotta fun” because they would get together and drink into the night when they’d “all become comedians in our own little way.” Watch Royce Da 5’9″ talk about his collaborative preferences below.

The modern hip-hop landscape feels like fertile ground for lone wanderers. Though it wasn’t always. There was once an era in which rap crews reigned supreme, gangs roving the game waving their own respective flags. Especially at the turn of the century. Every superstar seemed to have their own loyal band. Interesting dynamics and standout members proved inevitable — all part of the fun. Any hip-hop head in their late twenties can likely rattle off names like D12, G-Unit, State Property, The Lox, Bravehearts, Disturbing Tha Peace, Tha Eastsidaz, and the St. Lunatics. Some have delivered hip-hop classics; others have faded from memory.

The rap crew has been a mainstay in the game since the late eighties, since Dr. Dre, Eazy-E, Ice Cube, MC Ren, and DJ Yella united to form NWA. Years later came Wu-Tang Clan, arguably the greatest band to ever bless the culture. The product of ten emcees, disparate in styles though united in vision, the Shaolin warriors achieved commercial and critical dominance. Likewise did legendary groups like Bone Thugs-N-Harmony and Three 6 Mafia have untold impact on the culture, their influence on production trends and flow-schemes evident now more than ever. Cam’ron, Mase, and Big L fought record label attention as Children Of The Corn, their movement shattered by Big L’s untimely murder. The Hot Boys, a New Orleans based collective helmed by the notorious Birdman, brought a new bounce to the table. Nas, AZ, Foxy Brown, and Nature joined Dr. Dre for The Firm, a mafioso clique that ultimately floundered under the weight of expectation.

Al Pereira/Michael Ochs Archives/Getty Images

The list goes on. To shine a spotlight on all deserving parties would require far more than a single article. But there is one interesting pattern worthy of exploration, one that really came to manifest in the early millennium. The idea that a commercially successful rapper had a band of little homies waiting in the wings, ready to be put on. Was it a label-fuelled movement? Perhaps; you can bet the Interscope powers that be were salivating at the thought of a D12 album, especially if it didn’t impact Em’s contract as a solo artist. Business aside, the arrival of a crew often introduced new dynamics, undoubtedly fueled by a good-natured sense of healthy competition. Upon listening to D12’s Devil’s Night and St Lunatics’ Free City, there’s a certain edge to both Eminem and Nelly, culminating in some of their rawest and most effortlessly confident work.

Such results wouldn’t be possible without capable colleagues and standout members. For D12, it was Proof, the architect behind the Dirty Dozen’s vision; and of course the gruesome Bizarre, but he’s a standout for reasons beyond technical prowess. For St-Lunatics it was the original schoolboy, Murphy Lee, the high-school prodigy who had a decent solo career in his own right. Those familiar with the group might be quick to vouch for Ali’s prowess, but Murph’s marketability gave him leverage once the crew hype faded. And in most cases, such a fate is not a matter of if, but when. Sadly, rap crews often benefit most from one illustrious centerpiece; if one of the supporting players can find solo success, it’s akin to a late-game Hail Mary catch. Sometimes the buzz is so ridiculous it impacts everyone in the vicinity. It happened to Lloyd Banks, who carved his way from G-Unit’s punchline king to a respectable solo artist with a classic to his name. Young Buck found similar success in his own right, with Straight Outta Cashville serving as a respectable look for the Nashville emcee. 

 Hiroyuki Ito/Getty Images

Circumstances matter. When a group arises on equal footing, as was the case when Jadakiss, Styles P, and Sheek formed The Lox in the mid-nineties, the established dynamic allowed for a smooth transition into solo waters. Especially for Kiss and Styles, who explored new artistic depths on their debut albums Kiss Tha Game Goodbye and A Gangster And A Gentleman. Such cases skew closer to the Wu-Tang model, in which no discernible skill-based leader is selected by default. It’s the reason The Lox has been able to thrive for as long as they have, despite boasting only three crew albums to their name. Same goes for the Diplomats, who formed in 1997 after the dismantling of Cam’ron’s Children Of The Corn. With Cam, Jim Jones, Freekey Zeekey and later addition Juelz Santana operating on more or less equal footing, the healthy competition from within allowed each member to forge solo careers on their own merit. Sadly, tension ultimately destroyed the group from within, an inherent risk when four capable emcees move forward with no authoritative leader calling the shots. 

The rise and fall of the Diplomats echoes that of a newer group, the lyrical powerhouse that is Slaughterhouse. At the time of their formation, Royce Da 5’9”, Joe Budden, Joell Ortiz, and Crooked I were all accomplished lyricists, despite having never sustained long term success in the mainstream. Benefitting from the combined attention of their already established solo fanbases, the group was all but unburdened by the pressure of breaking an artist into the mainstream. The raison d’etre was simple: strive for lyrical excellence in the spirit of hip-hop tradition. Pure in theory, albeit naive: rather than pursuing the mixtape route, the group signed with Shady Records and attempted to reinvent themselves as commercially ble. In this case, it could be said that a case of “too many cooks” brought upon their downfall; others might argue that ego and creative differences played a role. As of this moment, their lost sophomore album Glass House remains an urban myth, forgotten until that one fateful day it leaks from the bluest ether.

Johnny Nunez/WireImage/Getty Images

Such sharp demises are the risk when no clear group hierarchy exists. In some ways, the “little homie” model is the more sustainable option, though the ceiling is significantly lower. Look no further than Ludacris’ short-lived Disturbing Tha Peace family, though it ultimately gave us Tity Boi. Or Nas’ Bravehearts, whose main contribution to the game was “Oochie Wally” — do with that what thou wilt. In hindsight, it’s rare for a group (not to be confused with a duo) to sustain a lengthy and creatively fulfilling career. Even a modern-day quartet like Black Hippy, comparable in many ways to Slaughterhouse, never found the time nor motivation to link up for an album. Heavyweight stars seldom do — does anybody remember the short-lived promise of CRS, the Thom Yorke sampling trifecta of Lupe Fiasco, Kanye West, and Pharrell Williams?

Yet today’s era has brought several exciting movements into the fold. Borne of vision-chasing principles previously seen in the likes of Wu-Tang Clan and The Diplomats yet instilled with a contemporary desire to shift culture, SpaceGhostPurpp’s Raider Klan was among the most impactful early movements to benefit from the internet. In 2008, the hazy and eclectic producer united with artists like Kadafi, Dough Dough Da Don, the late Jitt, and eventually Denzel Curry and Yung Simmie. Drawing influence from their environment of Carol City, Raider Klan’s impact went on to stretch beyond music, encompassing the community and providing like-minded artists with a means of expression. Though with massive collectives of this nature comes another risk, that varying degrees of both talent and motivation will lead to varying degrees of success and sustainability. 

David Wolff – Patrick/Redferns/Getty Images

When that does end up happening it need not tear a crew apart. Even as clear standout members begin to thrive as solo artists, some groups remain tethered by a sense of familial loyalty and mutual artistic respect. The A$AP Mob comes to mind, as brought to life by visionary creative Yams in 2006.  Inspired by a shared desire to push several facets of artistic culture ranging from music to fashion, the Mob united several like-minded New Yorkers under one banner. Though A$APs Rocky, Ferg, Twelvvy, Nast, Ant, and producer Ty Beats have all experienced different career trajectories, the Mob and by extension Yams’ memory represents a shared ideology above any well-defined creative goals. A similar vibe was felt during the rise of Odd Future, the primary creative outlet for a young Tyler, The Creator. Originally formed in 2007, Odd Future’s formative lineup consisted of Tyler, Hodgy Beats, Jasper, and Left Brain, who quickly found their music gaining steam. As the band of outcasts gained notoriety, Earl Sweatshirt, Domo Genesis, and Frank Ocean added their minds to the creative brain trust. Unlike the Mob, however, Odd Future is more or less inactive, fondly remembered for the spirit they once represented. 

And so it goes. Though the rap crew all too often meets an untimely and unamicable end, few go out without leaving a profound impact on the fans. Sometimes, if luck would have it, the dust might even settle to reveal a classic album or two. It’s hard not to look back on all the movements come and gone and not feel a pang of nostalgia. Past, present, or future, what’s your favorite hip-hop crew? 

Roger Kisby/Getty Images

Slaughterhouse reunited, kind of, on Eminem's Music To Be Murdered By. Royce Da 5'9", Joell Ortiz, and Kxng Crooked all made appearances or have production credits on Em's acclaimed surprise release, but Joe Budden was noticeably missing from the project. Gossip regarding tensions between Budden and Eminem have slithered through the rumor mill for years, and Em even took a verbal jab at the podcast host with his "Traitor Joe" line on his track "Lock It Up."

Noel Vasquez / Stringer / Getty Images

We recently reported that Budden stated he wouldn't reunite with his Slaughterhouse "brothers" until they released themselves from Shady Records and "own our own sh*t," but it looks like someone is coming for his spot in the hip hop group. "Yo @joebudden Lemme get yo slaughterhouse spot," Lupe tweeted days ago.

The joke was treated as a serious statement from those that may not be aware of the history between Lupe, Budden, and Eminem. Back in 2018, Lupe shared a video of a comedian mocking Eminem's style, and later he explained why, mentioned that he would lyrically "destroy" Budden and Em.

"I posted up that video of the comedian mimicking Eminem rap style because I thought it was funny and actually most rappers actually rap like that when they are writing to catch a flow and get a melody," Lupe wrote. "I like Em & most other rappers & I want no smoke but if I did I would destroy them all. Especially Joe Budden & Em too."

Months prior to that statement in July 2018, Lupe challenged Budden to a "Street fighter" battle. "Stop the ducking Joe! Streets is calling you!" Lupe commented to one of Joe's photos. "STREET FIGHTER THAT IS! You can bo back to gazing into the heart of clarity once you catch these multiple L's." Could Lupe slide into Budden's Slaughterhouse space?