Yooda – Hiroshima – Album Review

With explosive, in-your-face rhymes and gigantic beats, our homie Yooda is about to drop the bomb – welcome to Hiroshima.  The beginning of this record says it all, “Enola Gay” references the first plane to ever drop the atomic-bomb…so if that tells you anything about the ambitions of this rapper – and I believe it does – you’ll get the sense that Yooda is ready to scorch the earth in the process of making his name known worldwide.  You’ll hear the life & death of the matter instantly as “Enola Gay” starts-up with spoken-word before busting into the history of Yooda via rapped-out verse…and you can hear that it’s time for the man to get serious and bring out some of his best as he blows-up the rap-scene with his brand-new record.

After stopping in to check-in on the local-news in “JYE Channel 21 News (Skit1)” – Yooda makes his target known to all.  Declaring war on wack-rappers through the first of many ‘news skits’ on Hiroshima – Yooda immediately begins the intimidation tactics through the hard-thuggin’ track called “Don’t Walk” featuring SkyyH!gh.  People often ask me what the difference between Hip-Hop & Rap is…and well…if you want a pure-strain of the example of rap, straight-up – “Don’t Walk” is the quintessential showcase model.  This song sounds DANGEROUS!  And it’s supposed to – so props to both Yooda and SkyyH!gh for taking it to the limit on this track and getting right into it…it’s all good with me if you sound committed to the words and make them sound REAL – and they do.  That being said…I’m like, 1/10thof the man required to match the toughness of this cut…”Don’t Walk” they say…and I’d be like, running my ass across the street away from this posse if this track was bumpin’ in the background.  I don’t know if any good can come from making “Don’t Walk” your personal anthem…as good as the track IS, it definitely comes with a menacing attitude that is ready for ALL of the mayhem – not just a lil’ bit, ALL of it.  Hear this track out-loud somewhere and there’s an equal chance of someone out there gettin’ murked as there is a party startin’ up.  Seriously impressive overall, “Don’t Walk” looms large and casts a giant shadow over the wack-rappers out there, and SkyyH!gh delivers a solid highlight in the blazing-speed of his verse early on in Hiroshima.

And I mean…of course it all depends on the vibe you wanna send out.  If you wanna sound a thousand-times bigger than you are, larger than life and ready to stomp entire villages out, then of course “Don’t Walk” would make a perfect anthem for you to roll through the streets to.  So would “Lay Low” for that matter.  Featuring Fe_Lie – this track chants out the words loud & proud and keeps the aggression and concepts driving the record on-point.  The production on Hiroshima in general has been perfect so far, and you can really hear it in between the mixed-dynamics of a track like “Lay Low.”  Switching between loud & quiet, breakdowns and transitions, Yooda navigates this cut with ease, once again sounding like he’s here to handle his business…I’m thinking it’d be tough to even get a smile out of this guy even if you were there to give him the news that his trap was full to the brim.  Hooks are strong, good effects on the production in the vocals that are subtle but add strength – and the talent surrounding Yooda is exceptional.  Fe_Lie drops a verse of perfection with a rad tone in his voice that adds real contrast to Yooda’s own and really goes a long way to get the most out of this track.

Yung Hefe takes control for the beginning of “Let’s Go” – proving the point even further that Yooda not only cracks it perfectly on the mic himself but has seriously found a ton of talent to assist him along the way on Hiroshima.  Yung Hefe sounds about as gangsta as it gets…like he’s the audible-form of keeping a shiv low while you pass it.  The chorus on “Let’s Go” is big…it’s simple and really just the title itself, which works for the most part…I think it sounds like it could maybe use a little something more, but for the most part, the fill-ins in between the chants of “Let’s Go” make up for it.  Might have sounded cool for the actual “Let’s Go” part to have become bigger and bigger as the song progressed…I suppose that’s what I’m saying, but that’s a minor-point at best – it works fine as it is.  Really dig the sound of Yung Hefe’s vocals…definitely got unique style you can absolutely hear.

But at the perfect time to remind us exactly why we’re all here today, Yooda returns to a track solo-style and gives us all reason to remember his name with “Ain’t Worried Bout You.”  With style, rhythm and confidence, the man of the hour makes the most of the mic with a slick & sick verse that flows like a stream of bullets from an uzi.  With the best roll through a verse on the record so far, Yooda brings attitude in both the lyrics and performance; “Ain’t Worried Bout You” has the energy and spirit that the words are looking for.  Clearly sticking to an attitude of ‘I’ll do me, you do you’ – Yooda rejects any intimidation tactics and lets the world roll right off him on “Ain’t Worried Bout You.”  The low-end on this track packs in solid rhythm and groove…great hooks in both the vocal-flow and the music itself combine for a serious winner on “Ain’t Worried Bout You.”

The streak continues with “8685” – Yooda tackles this one hard, bringing up the family history quickly before all of a sudden, he’s a grown-ass man able to handle his own business.  The versatility in the way he chooses to flow is awesome…it’s not the same 16 bars you’ve heard time-in and time-out, Yooda keeps this record seriously fresh by making sure we’ve got more than enough to keep us awake while we listen.  “8655” jacks the low-end up even further, puts the aggression on max and delivers an audible-punch out of your speakers with a MASSIVE sound and hypnotic rap-verse that hooks you in easily…Yooda captures ears quickly with this cut I’m sure.  “8655” is like a testament to verbal acrobatics – Yooda never stops the flow from rolling along in the verse, chorus is BIG and the explosion of low-end & energy back into the track is perfect every time in transition.  Dig this track!

At the halfway-mark in the record, you get an update on the wack-rapper situation in “JYE Channel 21 News (Skit2)” – and things are sounding pretty grim.  After “8655” went down…sounds like the apocalypse and end of times for the whole lot of them…but we’ve still gotta wait for the next update to know for sure.  The menacing and huge low-end fury continues with the “Interlude (DJ B.Knuck) Mixed)” laying it out straight for ya…it still sounds straight-up aimed at your dome – but for the most-part, this cut breaks up the album a little bit with a slight…VERY-slight addition of a bit of humor in there.  Nothing too major…Yooda’s not looking to break-up the cohesion or the vibe on this record, but undeniably lightens-up a tiny fraction.  Still tells you that you better spin this a couple times at least…I’m not looking to piss anyone off, lest I get stomped-out, so I made sure I did & suggest you do the same!

Find me another gangsta-rap track, or hardcore rapper that name-drops Pat Sajak from Wheel Of Fortune…it’s gonna take you a long, long time.  Fairly certain that any search you go on ain’t gonna yield any results; I know it’s the first time I’ve ever heard it done!  And it’s HARSH to pull out the Sajak-card…yet here we are, Yooda’s gone and done it again on “Claim That.”  This track felt a little tighter in terms of how much is happening overall…felt a little more jumbled and full in the mix; it’s definitely a lot more in-your-face than Yooda’s been so far and that’s saying quite a bit.  This is a track all about making sure you can back up the words you’re saying…Yooda keeps this one flowing rapidly and with the added snarl and slight growl to his delivery that always let you hear just how serious he is about everything he writes and says.  Sajak though!  I mean…damn homie…everyone knows those are fightin’ words!

I’m a bit frustrated with “Level Dat Shit” after having supported the flow of Yooda so strongly throughout the entire record…to the point where I almost want to just say ‘you know why’ and leave it at that.  I’ll put it this way…when Yooda’s been at the top of his game, which he has been throughout Hiroshima – every syllable fits and falls into place perfectly – on “Level Dat Shit,” it’s not so much that he misses the meter….he hits the mark fine, but you can hear him stretching a few of these lines to make it there.  It feels a lot more forced in comparison to any of the other tracks on the record.  To his credit, there’s still a ton of words to be spit-out, and he DOES get there on-time…but I think the adherence to the rhyme-scheme might have cost him a bit on “Level Dat Shit” – again, sounds a bit forced overall.

Redemption comes immediately through “Hard Body” and Yooda rights the entire ship to get the album back on course.  “Hard Body” is about as modern-day ‘club’ as it gets, definitely a down-n-dirty track where the imagery just twerks right out at you…err…I mean pops right out at you…at least I think I do?  I don’t even know anymore…I’m lost in the rhythm and low-end swell of “Hard Body” – the chorus hooks in this cut are extremely awesome and the verse is pumped back up with energy and Yooda’s signature flow full of rapid-paced lyrics is back to leaving no stone unturned.  I’m sure I’m not the first to suggest this…but I’m absolutely cool with “Hard Body” becoming the next single from Hiroshima…I’m sure I speak for many in saying I’d love to see a video for this track!

“Fuckin Mind” was a bit of a tough one too…on one hand, I dig the verse, on the other, the main-hooks came out a little strange…it’s weird – I can hear that they work…but I guess I’m just not sure the sung-out vocals had the right sound for the track’s overall tone.  I think I get what Yooda was looking for here…and I think it’s close overall, just slightly wide of the mark.  I’m thinking he wanted some backing vocals there to be a little bit looser with their delivery and represent being out of their “Fuckin Mind,” just not sure they paired-up with the tone in the low-end as much as we’d like them to.  Verse is solid…it all sounds a little bit quiet in comparison to the boldness of the chorus, but there’s still a lot worth listening to as Yooda describes roaming through the neighborhood like a dog looking for a place to bury his bone.  Listen to the track – you’ll see what I mean…

On the final-cut, “Gebaku,” Yooda gets a final-assist on the album from rapper Ced Wynez, who we’ve reviewed here at our pages before.  Delivering an absolutely solid verse that’s bold, confident and ready to shoot the whole clip to make an impact; Wynez throws some seriousness & style together solidly in the mix of “Gebaku” as the rest of the rappers out there have no faded away from the battlefield, leaving only these two guys and a microphone to end the record.  Yooda and Wynez trade the mic off perfectly and definitely understand how to back each other up good’n’proper on a track at this point…as far as I understand it, these two are long-time collaborators and always ready to grab some bars on the other’s track when asked.

I was impressed with last year’s album Latent Status from Yooda…and I’d have to say that Hiroshima goes a long way to cement this rapper permanently as a genuine authority in the rap-scene.  When you put rhymes out with this much commitment to the performance, you get solid results like what you’ll hear from Yooda and the surrounding talent on this record.  With a final check-in on the news through “JYE Channel 21 News (Skit3)” – you’ll hear that the man has accomplished his goals…the wack-rappers have officially been annihilated and destroyed…only Yooda is left standing at the end of this match.  I can’t say whether he is or isn’t hiding cement blocks in his gloves…but I can certain vouch for the fact that when Yooda swings, he swings hard with pointed-aim ready to take the head right off the target…he keeps his rhymes sharp & on-point and creates genuine, hard-thuggin’ entertainment on Hiroshima.

Find out more about Yooda from his official Facebook page at:

Album submitted: Hiroshima

Artist: Yooda

Reviewed by: B. M. DuBB – A&R for Dubb Spot Records – 

Date: June 17, 2016


Hiroshima is a great body of work from the independent artist Yooda. I had the pleasure of listening and giving my honest feedback on the 15 track release Hiroshima, which consists of some nice bangers and some off the hook skits. 

First of all let me just say that I didn’t expect anything less from Yooda. Every time he drops he comes hard. His music is always full of that Miami signature sound and you can expect Yooda to lock himself to the beat regardless of the style. And let’s not even talk about the beat selection. Why do you think every release is hard as they are? It’s the beat selection! It’s obvious that this is something that he’s not new to but definitely something he’s true to. Don’t get it twisted though, Yooda can bang you in the head with many different types of flows which was also proven in this release. If it’s something that he needs to get off of his chest you best believe there’s a strong chance that you will hear it in his music. Don’t believe it? Peep out the first release from Hiroshima, Ain’t Worried Bout You or the track Claim That. Get the message? I thought so!


Overall I have no problems with this release with the exception of one track, Fuckin Mind. The shorty on the hook kind of took away from the track as the vocal delivery wasn’t that strong. However Yooda handled his delivery as he always does. But you have to also consider that this is an independent release so there is always room for improvement. It’s definitely not a deal breaker and doesn’t affect my opinion of this being good music. That still applies. 

So if you want go for that lyrical ride I suggest you strap on your seatbelt for that Enola Gay as well and throw Hiroshima in your iPod playlist. The skits are on point and the music does not disappoint. My top three tracks off of this release is Ain’t Worried Bout You, 8655 and Claim That. Don’t sleep on that Gebaku feat. Ced Wynez either.

This release is Dubb Spot stamped and as I suggested before, make sure you get at this release as soon as it drops. Yooda, I salue you Fam. Good work!

Support the independent artist Yooda by accessing his social media accounts below.


Twitter @yooda21

SnapChat @yooda21

Facebook /mr305shotta

Soundcloud /mr305Shotta

The Corso

Hiroshima LP August 5th Release

Hiroshima brings a strong gust of conscious rap music to the forefront of the industry border for hip hop heads across the US. The production of the album infused with the lyrical performances created a great contrast in the compositions that colored the entire album track by track. Production creates the foundation of the song and I really think that this artist understands the importance of this notion when songwriting to an instrumental. Not only are the lyrics on-point, the flows are immaculate with fluxes between hard hitting lyrics and gyrating cadences. The fluctuations from hardcore rap to mainstream vibes was apparent and made for an interesting dynamic throughout the album. The news skits added more creativity to the story – almost like a movie reel with every song being presented as a scene to encapsulate the full-fledged film. This reminded me a lot of Dr. Dre storyline LPs with a lot of intermissions in between the heavy hitting songs (more so on his latest “Compton” album which was overlooked music critics). The only thing that is really lacking would be the studio quality that is found throughout big budget projects – Most independent artists have to compensate for that setback breach but I would really like to see this album remastered to get it up to industry standard. Preferably through WAV and AIFF files to start then a great mixing/mastering engineer to iron out the remaining kinks.

The official album drops on August 5th – Don’t sleep on this album!

Sleeping Bags Studios

Yooda – Latent Status – Album Review

One might think that the last thing someone would want would be a crusty old white dude like me that looks like a garden gnome 10/12th’s of the year to understand everything about where they’re coming from in their music. Heartbreak…sure, I can relate. The struggle to become known…definitely. Bitches, money, guns…maybe not so much! And so it would seem that rapper Yooda and I certainly come from different worlds…but from the picture he paints, I think I’m comfortable right here on my couch thank you very much. And while I might not get the whole picture, I certainly get how real it all is from Yooda’s perspective in life.

What I was digging on the first cut “I Don’t Talk” from Yooda, was that for a moment, it seemed like we might not be too far apart after all! For a moment, as Yooda listed through a number of topics he doesn’t rap about…some of those seemed close enough for me to believe I wouldn’t be in for another rap album rhyming about the thug life. “I Don’t Talk” is a strange track to lead off Latent Status with in the sense that lyrically, it kind of leads us all to believe that there might be other topics in the mix…but in truth, much of what seemed to be on the list of things Yooda won’t rap about in “I Don’t Talk” seem to be prevalent topics in the songs to follow. Not saying it’s a bad track – it’s not at all. Yooda has a knack for creating BIG hooks and that makes itself known right away…just a little confusing in feeling like this was all going to head in a massively different direction than Latent Status does.

And so what anyhow…assumptions & expectations are always on the person that has them and no one else! The gang-style vocals of “What U Mad 4” create a menacing atmosphere and break way for Yooda to display a masterful grip on the microphone and a flawlessly metered vocal-flow. It would always depend on what side of the Nikes you’re on of course…this might be a party vibe of sorts but it almost sounds like the perfect soundtrack for beefs to be settled out on the court.

Latent Status has a serious edge to it and the beat & lyrical delivery really push themselves right up on you…these tracks are produced as massive, epic structures…lots of work put into the technical aspects of the music with lots of effects and subtle aspects driving the music forward. “Pop 1 Mo” is a great example of Yooda’s ability to take a good time vibe and still put some thug-seriousness into it…guest stars B.O & Spaceman pick up the weight and carry this track from the middle to the final blaze through the chorus. It does offer a fun atmosphere…but again, there’s that hard-edge to the vocals and energy in the lyrics that almost makes it feel like you can’t enjoy this music without taking a slap or a punch somewhere down the line…

A smooth sample begins “Nigga 2 Nigga 2.0” and features homie KayJay assisting on this…this uhh…love song? I mean it might not quite be all about love…well…lots of it isn’t really…but the hook in the chorus is great. Compared to the dynamics of the opening three tunes this one does come out a little softer as intended…but also a little less pored-over production-wise when hearing it against those opening cuts. I think that, well…especially when you hear the huge anthem and production that’s put up on Yooda’s “Oh Yeah,” it just seems like “Nigga 2 Nigga 2.0” might be the track to benefit from a slightly better mix or maybe a different placement on the album would make it stand out more than it does right now.

And hey! Would you look at that? A homeboy we’ve run into in the past, rapper Ced Wynez lends his microphone talents on “Puppet Master” – we’ve known about him for a while and the caliber of which he can deliver. Ced Wynez doesn’t let us down whatsoever, delivers a slick verse or two, and matches energy with Yooda to make for one of the most successful collaborations on this new record.

“She Twerkin” has that massively dangerous and menacing tone to it once again. I really do dig the dark, dank, back-alley vibe to the music as well as the convincing way that these words feel like they’re pushing you up against your high-school locker demanding your lunch money. I miss that feeling. Switching up the tone to something a little lighter, “Amazing” brings back KayJay for a sensual rap that mixes old-school with new-school in an excellent combination. Yooda’s done a good job of mixing up the style & sound of the rhythms and rhymes to allow this album to keep you interested with a large all-encompassing palette of rap creativity.

“I Go Hard” makes me think of that moment in Office Space where they take the photocopier out and beat it with baseball bats, presumably making it electronically wish it was never even built. “I Go Hard” continues to represent Yooda and his sound in full and the posse that breaks out on “10 Broke Niggaz” really brings this album back to full-life just in case any ears were thinking about wandering off. “10 Broke Niggaz” lets these MC’s trade off the mic expertly and the chorus anthem is MASSIVE. Big mean sounds on this album…it put hooks in your ears and a boot firmly on your throat.

Keeping that interest is the gigantic beat that fuels “Pour It Up,” which leaves Yooda out there on his own to do what he does best and he delivers perfectly once again, gripping the microphone with confidence, clarity and professional precision. Definitely a passion for rapping on full display from Yooda – you can tell that he’s loving making these rhymes come to life. Sometimes that can get in the way slightly…sometimes we all get excited over collaborations and new music that quality control can dip even when we think we’re on our guard & we’ve nailed it; case in point, “Where My Dawgs At.” I’m not only completely unsure about the strength of this hook – I think it’s also delivered at half-mast, especially considering the quality in vocals hasn’t dropped for a moment on the rest of the record. The verse in “Where My Dawgs At” works without issues, but that is one problematic chorus that needs to be examined under the microscope in the studio all over again.

“Duckin Bids” definitely hits harder and meaner than most of the tracks before, which is really saying something at this point! I think this track is perfectly matched from beat to lyrics to the inspired performances in the verse and chorus; “Duckin Bids” takes large swings and lands big lyrical punches in clever combinations one after the other. Love the verse that starts around the three-minute mark on this clever cut…the madness and genius of this verse carries this track out to complete excellence – great atmosphere, convincingly performed.

Yooda does well on his own or when surrounded by the talent that’s helped out on this album. “House Party” starts building the party up all over again – I had to check the track-listing, I thought I might be in for a double-album here! Really dig the music in this dirty club-beat…”House Party” sounds more like fun than any other track has on Yooda’s album…great sample incorporation and a lot of the overall menace is left behind for a good time.

Personally, I might have reversed these two tracks at the end, just to end the album on the high-note of “House Party” and the awesome energy it has. I don’t think “Take U” is a bad song either – everything Yooda’s put together passes as acceptable or way-greater but I don’t think “Take U” was the ending the album deserved in terms of impact. I get the idea of mellowing it out a bit at the end, but I don’t know…again, I think “House Party” would have been a choice that would have left more impact on our ears…that could just be me…who knows…

As it stands, Latent Status is a solid effort from a passionate MC that clearly makes music that matters to him; Yooda pumps out conviction over the microphone and rhymes over dynamic beats that pound with real mood and atmosphere that makes some of this music altogether TOO real!

GrindFlu Magazine

Junkyard Post

Yooda To Release His 6th Album "Latent Status".

Renowned for his socially-conscious musical messages, Hip hop star Yooda aka Mr.305Shotta is gearing up for the November 24th release of his 6th full length studio album titled "Latent Status".

Laying his distinctively smooth, mellow yet aggressive voice on 16 tracks, the album spans the spectrum of all that embodies hiphop, from Culture, Love & Social Commentaries. Yooda has delivered what is sure to become a classic album.

The title name speaks for itself, "Latent Status", it exemplifies Yooda's mind set of Latent Status is that with the journey he's been on since 2002. Learning so much without a handout. His status is seen but untouchable.The songs "Take U features Lyric LaúRence ", "Amazing which features Kayjay", are all love songs that are sure to quench the soul, mind and body of lovers' throughout the globe. While "Oh Yeah", "What U Mad 4","Nigga 2 Nigga 2.0 features Kayjay"and "Pour It Up" are universal and reflects of our past, present and future. "Broke Niggaz features Cee Nyle and Big Vick", "Duckin Bids features Bwase Mane, "I Go Hard", "I Don't Talk" gives off a Street Vibe, the feeling of wanting to let loose and have fun after a hard working week, when one is ready to go out and full joy the fruit of your labor. "House Party" is an uptempo track that will resonate to fans just trying to enjoy the night. Rounding up this musical feast is "Where My Dawgs At","She Twerkin Now", "Puppet Master", "Pop 1 Mo"are ever day music moment.

The album was solely produced by Cedric (Ced Wynez) Allen who is also one of the Executive Producer for Latent Status.

"Giving The upmost thanks to God and Jesus for being there and Blessing Me in all times, Ced Wynez for putting this creation together, My Wife for putting up with my late night studio runs. My three kids for being my everything. My brother Vido No Shake. My Junkyard ENT family Ced Wynez, DJ Bknuck & DJ Kaydoe. My Heavyweight Kamp family J-Kad & Pollock Da King. Thank you to all the musicians for lending impeccable talents, To all the djs, selectors, promoters for keeping it 100 & Bless, Dwain (Blvkout) Wilkinson our universal designer for all his creative ideas, and last but never forgotten The ever growing global Fans that keep me going. "Y'all know what it..." Yooda

"Latent Status" will be available November 25, 2014 on ITunes, Amazon, Google Play and all other digital distribution outlets.