West Coast Connection Forum
DUBCC - Tha Connection => Outbound Connection => Topic started by: The Predator on October 11, 2025, 12:17:22 AM
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Out on halloween (October 31th), Nas feature on 1st single.
Mass Appeal and Big L's estate announced the details for the late rapper's fourth posthumous album, Harlem's Finest: Rise of the Forgotten King. The video they posted tells the story of how the Harlem native, born Lamont Coleman, got his coveted 24-karat gold Presidential Rolex. You can see Big L wearing the watch in the official cover for the upcoming album. In the caption, Nas's record label confirmed the release date for the album is October 31.
This will be Big L's fifth album overall. His first posthumous album, The Big Picture, dropped over a year after the artist was gunned down during a drive-by shooting in Harlem. In the years after his death, Big L's estate handled the release of his two other posthumous albums, 139 & Lenox (2010) and The Danger Zone (2011).
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Big L's Harlem's Finest: Rise of the Forgotten King is part of Mass Appeal's "Legend Has It" series. The campaign, which was announced earlier this year, features seven albums from seven acts, including Nas & DJ PREMIER, Ghostface Killah, Raekwon, Mobb Deep, De La Soul, Big L, and Slick Rick. Rae, Ghost, Mobb Deep and Slick Rick have already released dropped their respective albums.
Look out for Big L's new album on October 31.
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https://www.instagram.com/p/DPfUK-YkYlI/
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Really wait for this one.
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“Big L was always ahead of his time. There’s some quotes out there from me about Big L, like how terrifyingly good that he was that made me have to step up my game. We were both signed to Columbia Records and I think the world never got a chance to get Big L the way they wanted him. It’s a blessing to have this celebration of him, and it’s a reminder that there’s different variants of hip hop and they’re all dope, but when it comes to lyricists, Big L’s the standard. A lot of people are safe out there and rap because Big L’s not no longer around. There’s a lot of stuff floating around today that’s really not good. This album will remind you that it’s not about hype, it’s about art. And that’s what Big L’s doing with this album, reminding the world, reminding New York, that even though there’s different styles that you should do and play with, which are very dope, never forget what this shyt comes from. The roots of this shyt is serious talent. “ - Nas
https://www.dubcnn.com/connect/index.php/topic,347358.0.html
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1st single and vid', featuring Nas -
https://www.dubcnn.com/connect/index.php/topic,347437.msg3213693.html#new
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def gonna check this!
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Track 4...feature and producer reveal -
https://www.instagram.com/p/DQK4l5zDOXR/
04. - 'Fred Samuel Playground' feat The Method Man (Prod by The Conductor of Griselda)
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WOW Big L featuring Method Man produced by Conductor?!
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Harlem Universal Ft. Herb McGruff
U Ain’t Gotta Chance Ft. Nas
RHN Ft. Errol Holden
Fred Samuel Playground Ft. Method Man
All Alone (Quiet Storm Mix) Ft. Novel
Big Lee & Reg Ft. Errol Holden
7 Minute Freestyle Ft. Jay-Z
Forever Ft. Mac Miller & Pale Jay
Doo Wop Freestyle Ft. Joe Budden
Stretch & Bob Freestyle (‘98) Ft. Donald Phinazee & Sacha Jenkins
Grant’s Tomb ‘97 (Jazzmobile) Ft. Joey Bada$$, BVNGS & Ron G
Live @ Rock N Will ‘92 Ft SHOWBIZ
How Will I Make It (Park West High School Mix)
(Bonus) Put The Mic Down Ft. Fergie Baby& Party Arty
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Fire tracklist
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joint wit nas came on the radio yesterday .. sounded dope
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Full credits in the usual place:
https://www.dubcnn.com/connect/index.php/topic,347469
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The album is a bit disappointing.
Harlem Universal (Feat. McGruff) = It starts with a track where you think, okay, old recordings, but Big L tears it apart.
U Aint Gotta Chance (Feat. Nas) = just good
RHN (Real Harlem Niggas) (Feat. Errol Holden) = geiles sample und big in bester form, aber halt auch so eine freestyle recycled version
Fred Samuel Playground (Feat. Method Man) = I wish Big had a second part.
All Alone (Quiet Storm Mix) (Feat. Novel) = Great track, but to be honest, most of L's parts are a 16, I expected more.
Forever (Feat. Mac Miller & Pale Jay) = Simply good, R.I.P. too, both.
Overall, I expected more.
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Meth sounds great on that Conductor beat. The Nas and Meth tracks are among the best.
Not bad at all 8)
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I like the album, sounds like it came out in the 90s and they probably did the best they could with limited verses from Big L.
Would have been cool to see are Children of the Corn reunion or an old track.
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Is it my ears or quality on How Will I Make It sucks that it sounds like old tape demo?
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checkn right now!
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So.
This is an okay release at best.
The music fitts to the flow, some of the featurings are interesting to me, but there are some dope too.
The freestyle session aint new, the fans knew these for a long time.
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Big L – Harlem’s Finest: Return Of The King - Review
(https://www.fatbeats.com/cdn/shop/files/mass-appeal-big-l-harlem-s-finest-return-of-the-king-lp-cd-cassette-lp-big-l-harlem-s-finest-return-of-the-king-lp-cd-cassette-photo-photo-photo-1200426577.webp?v=1761762783&width=450)
Twenty-six years after his murder, Lamont “Big L” Coleman returns through Harlem’s Finest: Return of the King, a posthumous album released by Nas’ Mass Appeal label as part of the Legend Has It… series. The series has been one of the few major Hip Hop projects in 2025 to treat the genre’s past with care, restoring and re-releasing music from East Coast heavyweights with the production quality and reverence those legacies deserve. This entry is the fifth in the run, following albums by Mobb Deep, Raekwon, Ghostface Killah, and a short one by the iconic Slick Rick. For Harlem, this one hits deeper—it brings back the voice of a lyricist whose career ended before it could fully begin.
Big L came out of Harlem’s 139th and Lenox block in the early ’90s, one of the sharpest technical rappers of his era. His debut, Lifestylez ov da Poor & Dangerous (1995), was a wild collision of punchlines and street commentary. He belonged to the Diggin’ in the Crates Crew alongside Lord Finesse, Fat Joe, and Diamond D, and he co-founded Children of the Corn with Cam’ron and Ma$e. He was known for intricate internal rhymes and battle-ready precision, the kind of MC who could dismantle an opponent with a smirk. Before his death in 1999, he was reportedly close to signing with Roc-A-Fella Records. At twenty-four, he was gone, leaving a single studio album and an ocean of potential behind him.
Mass Appeal’s decision to build a new album from his unreleased recordings and legendary freestyles is part archival mission, part cultural repair. Much of Big L’s material has floated online for decades in half-finished forms. His estate and Nas’ team took the time to remaster those files, clear long-troublesome samples, and credit original producers properly. The result isn’t a discovery of hidden songs—it’s a formal recognition of what fans have kept alive on bootlegs and message boards for years.
The opener, “Harlem Universal,” immediately locks into that mission. Over a soulful, percussive beat from G Koop, Big L’s voice cuts through the mix with the sharpness it always had. His rhymes spill over the bars with practiced ease: talk of hustling, women, and neighborhood pride delivered with humor and menace in equal measure. Herb McGruff, another Harlem veteran, jumps in with the same block energy. The track reintroduces L as he was—clever, confident, and rhythmically relentless. It’s not nostalgia for its own sake; it’s an affirmation that his technical grip still hits hard even in 2025.
“U Ain’t Gotta Chance,” featuring Nas, was the album’s single and centerpiece before release. The production—handled by G Koop, 2one2, and Al Hug—leans on crisp drums and bright keys, somewhere between late-’90s boom bap and modern polish. L’s verse is lifted from a 1997 Tim Westwood freestyle, a reminder of his wit and speed: “You won’t be rich as me if your whole crew put your cheese together.” Nas enters with a new verse about discipline, legacy, and navigating success. His delivery is calm, every line measured. The edit between eras is audible, but it works on its own terms: one Harlem kid in 1997 hungry for respect, another New York giant in 2025 paying it back.
“Fred Samuel Playground,” with Method Man, finds its pulse in a Conductor Williams beat thick with bass and soul samples. The two MCs trade verses filled with Harlem landmarks and tough talk, the chemistry natural despite the decades between their recordings. “All Alone (Quiet Storm Mix)” brings a different shade. Novel’s smooth hook backs L as he raps about loneliness, fake smiles, and trust issues—a side of him that rarely surfaced in his lifetime. The stripped-down production leaves his voice exposed, and the vulnerability gives the album balance.
“Forever,” featuring Mac Miller and Pale Jay, reaches for something wider. It’s an imagined conversation between eras, two artists gone too early. Mac’s verse drifts in with gentle humor and wordplay, while L stays rooted in street logic and material flexes. The contrast is sharp, but the intent is respectful. The beat floats, Pale Jay’s hook softens the edges, and the track becomes a quiet celebration of two careers that ended far too soon.
(https://scontent-fra3-1.xx.fbcdn.net/v/t39.30808-6/574565572_1128493512667348_6797217544156962158_n.jpg?stp=dst-jpg_p526x296_tt6&_nc_cat=105&ccb=1-7&_nc_sid=833d8c&_nc_ohc=OFPFXOSGLi4Q7kNvwEEljht&_nc_oc=AdmeowUfB4UoaR-aTrws8Uw5Iv2qFUy0540K68eKX-FHzZkk9WaOibaxwqvD00Q6SN0&_nc_zt=23&_nc_ht=scontent-fra3-1.xx&_nc_gid=3Si0q171Gummg8BQrxBs9Q&oh=00_Afg7d-vyIqo7SgiAWsCbg-863EqAQjHHwIBZ6F14BCKiVw&oe=69133FA3)
The album’s gravitational center is “7 Minute Freestyle,” Big L’s legendary 1995 session with a young Jay-Z from the Stretch & Bobbito Show. Every bar has been memorized by generations of Hip Hop fans—the rhyme schemes, the punchlines, the breath control. Hearing it remastered gives it a new dimension, the hiss of tape replaced by clean clarity. L’s wit is electric: “I’m so ahead of my time, my parents haven’t met yet.” Jay’s reply is nimble, but the record belongs to L. It’s not new material, but its inclusion makes sense. This freestyle is an artifact of Hip Hop history, and any Big L collection without it would feel incomplete.
The middle stretch moves through archival cuts and freestyles that chart his range. “Doo Wop Freestyle ‘99,” introduced by Joe Budden, revives his off-the-top confidence. “Stretch & Bob Freestyle ‘98” leans heavier on punchlines and threats. “Grant’s Tomb ‘97 (Jazzmobile),” with Joey Bada$$ and BVNGS, bridges generations—the beat swings, Joey channels the spirit of old Harlem cipher sessions, and the young voices carry the influence forward. “Live @ Rock N Will ‘92” drops all the way back to a teenage L performing in a Harlem park, already spitting double-rhymes like a seasoned MC. These moments turn the album into a time capsule, tracing how rapidly he sharpened his craft.
“Put the Mic Down,” a bonus cut with Fergie Baby and the late Party Arty, wraps things up with punchy verses and a raucous hook. It’s a modern send-off, more studio than archival, and it ends the record on a defiant note. There’s humor, aggression, and that signature Harlem confidence—qualities that defined L’s short run.
Mass Appeal’s Legend Has It… series has become a vital part of 2025 Hip Hop, bridging old and new audiences without resorting to nostalgia for nostalgia’s sake. Harlem’s Finest fits that ethos: it’s an archival restoration handled with precision, not a quick cash-in. Still, anyone familiar with Big L knows the truth—there’s no secret vault of unreleased material waiting to be uncovered. A lot of these verses and punchlines have circulated for decades. The producers’ polish gives them new life, but this is not a “new” album in the traditional sense. It’s an organized, reverent collection of what remains, shaped to feel cohesive and complete.
Even with that limitation, the album works. It brings Big L’s voice back into the current Hip Hop conversation, not as a myth but as a living presence. His flow still sounds sharp. His humor still cuts. His control over rhythm and wordplay still ranks among the best to ever do it. There’s a clear emotional weight in hearing him again—like flipping through an old Polaroid that never lost its color.
Harlem’s Finest: Return of the King is more than a compilation because it listens like an album, moving through moods and decades with care. It’s a respectful closure to a career that ended too soon and a reminder of the energy that once defined New York Hip Hop. For older fans, it’s a proper send-off. For younger listeners, it’s a chance to hear one of the genre’s purest technicians without the myth clouding the music.
Big L was one of Hip Hop’s greatest natural talents, a writer and performer who had mastered his craft before the world caught on. This album can’t replace what was lost, but it restores the power of what remains—a bittersweet reminder of everything he was, and everything he might have become.
Great album.
8.5/10
(https://www.fatbeats.com/cdn/shop/files/mass-appeal-big-l-harlem-s-finest-return-of-the-king-lp-cd-cassette-cassette-lp-big-l-harlem-s-finest-return-of-the-king-lp-cd-cassette-199806206263-msap183tap-photo-photo-photo-1200426575.webp?v=1761762778&width=1200)
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I think this is a solid release, I just wish it was longer as there are more bars out there from L that people (outside of proper Big L fans) haven't heard. I'm sure they could've used some from some underground features to give him a second verse on a couple of tracks.
But either way, really rate this release. Had it on steady rotation.
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This release was not needed, in my opinion
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This release was not needed, in my opinion
like all other posthumus release!
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Well, i like this release.
One of the best posthumous albums I’ve listened to.
Only complain would be the length of this album & the lack of D.I.T.C. Involvement in this.
Most of the L verses were previously released or available on YT and previous releases.
Harlem Universal Ft. Herb McGruff = this song was from an old freestyle with the same title as this song, but also had features from I-Born and CL Smooth which is way better than this Remix 8/10
U Ain’t Gotta Chance Ft. Nas = L’s verse was taking from a ‘97 freestyle he did with O.C. @Tim Westwood Show, at first I wasn’t feeling it but change my mind after a few listens 9/10
RHN Ft. Errol Holden = can’t remember where the OG verse came from but the beat suits L’s rhymes very good 9.5/10
Fred Samuel Playground Ft. Method Man = this song actually has unheard L vocals to me, mixed with some of his most frequently freestyles, Method Man sounds dope on this beat which makes me wonder how a real Meth & L collabo could have been 9.5/10
All Alone (Quiet Storm Mix) Ft. Novel = L’s verse comes from the Lord Finesse produced song Alone from Stephen Simmons ft.Big L & Marquee. The OG was a dope song, but I wonder If Alone was Remixed completely with this beat it would’ve been a posthumous classic. Sadly the song is too short in length 10/10
Big Lee & Reg Ft. Errol Holden = Skit
7 Minute Freestyle Ft. Jay-Z = Remastered and slightly enhanced version of the Legendary freestyle @Stretch & Bobbito show. Big L showed he didn’t play no games 10/10
Forever Ft. Mac Miller & Pale Jay = I was the first to open my mouth on why Mac Miller was added in a song with L, but goddamn they sure captured the magic on this. Big L, Mac Miller & Pale Jay were amazingly good. Almost dropped a tear when L rhymed. Also, L’s verse was taken from Ron G’s Harlem’s Finest/Exclusive 2003 mix 10/10
Doo Wop Freestyle Ft. Joe Budden = L freestyle this verse on the L & A.G. live from Amsterdam and on the song We Got This. Joe Budden was only on the Intro. 7/10
Stretch & Bob Freestyle (‘98) Ft. Donald Phinazee & Sacha Jenkins = Donald was on the Intro of the song, but the actual freestyle is part 2 of the one released on The Big Picture but with a different beat. Classic L going at it, you can even hear Lord Sear’s reaction to L’s freestyle. 10/10
Grant’s Tomb ‘97 (Jazzmobile) Ft. Joey Bada$$, BVNGS & Ron G = this song has L’s 1st verse to Harlem’s Finest/Exlusive 2003 mixed by DJ Ron G who introduces this song. Joey did his thing on here too 9.5/10
Live @ Rock N Will ‘92 Ft SHOWBIZ = everyone (I think) has heard the OG Rock & Wills freestyle, while the beat is different it sounds like the same vibe (i think they flipped the same sample). Only wished Lord Finesse was featured with his verse from that session. Oh well 9.5/10
How Will I Make It (Park West High School Mix) = being a 2Pac fan made learn about Master Reels, DAT Tapes etc, so this classic song must have it’s master reel or DAT tape damaged or something, I bet they tried their best to restore and remaster this song, still this is a Classic Big L song 10/10
(Bonus) Put The Mic Down Ft. Fergie Baby& Party Arty = can’t remember where L’s rhymes came from but it was dope to hear L & Party Arty on this project. 9/10
As far as the features they are very good and I’m surprised about it.
Far superior than what I expected, besides the D.I.T.C. Absence and the length of the album it would’ve been super great. 9/10
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''I can pull a dime, quicker then Dillinger could pull a heist'' - Big-L Corleone ;)
(https://bamfstyle.com/wp-content/uploads/2013/09/dil73lilbo-main1.jpg)
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https://www.youtube.com/v/JeCj9cbC3wE (https://www.youtube.com/watch?v=JeCj9cbC3wE)