Half Ounce



An album by Jesse B. Dawg

Review presented by Issac Sandoval

Listen to “Half Ounce” by Jesse B. Dawg

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Jesse B Dawg and the owner of The Write Reviews, Warren Peace, have known each other for a few months due to some business relations. When Jesse B Dawg expressed his interest in being reviewed on the website, Warren knew it would be a conflict of interest for him to write up the review. None other than Issac Sandoval steps up to the plate, ready to check Jesse B Dawg’s “Half Ounce” pitch. Will J.B.D. strike a fire with his album or will he miss the plate and fail to give Issac a hit to work with?


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1- Hard Times

A bit of an odd choice to open a project up with, but perhaps I’ve just been conditioned to expect an intro. Either way Jesse B. Dawg wastes no time bringing us into this dower world he paints on 1/2 Ounce. The instrumental is a great fit, sounding almost as condescending as the hook. The flow carries a very structured Commonesque delivery with it, but overall a great track.

2- 44.1

The first thing you’ll notice is the 1980s arcade soundtrack feel to the instrumental, a really cool selection. B Dawg then brings us another dark narrative. The flow is a lot more natural on our second track, but the delivery is still pretty deliberate and predictable. All in all, another solid track.

3- Another Bottle of Crown

Our third instrumental is a gorgeous laid back guitar chord progression that once again serves as a perfect backdrop to the story that is weaved for three minutes and 16 seconds. 2 solid verses, a great hook that has a nearly impeccable delivery. Then we get a guitar solo to coax us to the end of the song. B Dawg is three for three at this point.

4- Depression Music

This round B Dawg gives us a metal instrumental. Four tracks in we’ve got great diversity in our music, but none of it sounds out of place. The hook for Depression Music is one that can easily be learned and chanted along with when you listen to it. Not only that, it’s fun as well. If there’s a downfall to this track it’s that B Dawg’s delivery is beginning to get a bit stale.

5- Dumpster

Dumpster brings back that arcade-type vibe of 44.1, but a bit more upbeat this time. B Dawg covers a few different subjects here, and just as I said his delivery was getting a little lackluster, he steps it up and demands your attention here. I only wish this track had been longer or faded out a little easier, I’m too hype for it to end so abruptly.

6- Feel

One of his most natural flows yet, over an old-schoolish, minimalist instrumental. Bonus points for the Notorious B.I.G. reference. I wish there were more I could say about this track, but again an abrupt ending and only one minute and fifty-two seconds in length.

7- High World

Another rock infused instrumental with the right amount of distortion on the guitar. One of the more complete tracks on the project. Hard-hitting, well put together verses separated by smooth guitar riffs. I particularly loved the juxtaposition of the twelve steps and the ABCs at the very end of the track, it was a stroke of genius.

8- Kanetown Music

I’m going to be honest, I had no idea that Spokane was anything like the portrait that B Dawg brings us on Kanetown Music. Probably the best hook on the album, ties the track together wonderfully. If this is the sound of Spokane I certainly dig it, the beat is west coast for sure, but not Cali, with a hint of Dirty South in it.

9- Killing and Rapping

Back to the dark side on Killing And Rapping, we’ve got a horrorcore type beat, but the lyrics aren’t horrorcore. Here B Dawg finds an interesting middle ground between gangsta rap and horrorcore, and thank goodness, it’s a beautiful marriage. The double-time in the last verse is done better than most, but certainly isn’t elite, if nothing else it’s an enjoyable change of pace.

10- Looking Back

I loved the Roberta Flack/Fugees intro to the track, but I’m not really sure what it has to do with the track itself. The story-telling is at it’s most vivid on Looking Back, and the ad-libs are immersive. Where the track suffers is the hook, far too melodic for a rapper who shouldn’t get too adventurous when singing.

11- My Own Time

Here B Dawg gets lyrically simplistic, but that may be purposeful, as in the second verse he says, “I don’t know how to rap/I must have forgotten.” My Own Time has a melancholy feel to it overall as he addresses both the state of the community around him and self-doubt. Another good introspective track that is just too short and leaves you wanting more,

12- Rest Is Waste

Track thirteen is where B Dawg shines most with his flow and delivery. Switching it up a few times and being more creative than we’ve seen him show in that department so far. His inflection is on point here as well which really gives this track more emotional depth than some other that may even be more lyrically impressive. The aggressive hard-hitting verses are somehow blended very well with instrumental breaks in between in a way that is confusing as it is enjoyable.

13- Final Talon

The concluding track to the album has a very awkward start to it with both the intro and the voice that B Dawg is rapping in, very different from what we’ve heard so far. The instrumental and hook are both grungy, but do not blend with the hard verses as well as the smooth breaks of the previous track did. The bridge is where this track truly shines, extremely northwest rock in origin, but without a doubt the most interesting part of Final Talon.


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Another Bottle Of Crown, High World, Kanetown Music, and Rest Is Waste


1/2 Ounce by Jesse B Dawg is a bizarre, twisted, and intriguing ride, if you are not a fan of his or of works similar to his, you will need to listen with an open mind. Admittedly this album is outside of my personal tastes, but I found a large amount of the project to be enjoyable and even fun at times. Outside of this project I can’t say I’ve really heard any Hip-Hop out of the Northwest aside from Mix-A-Lot, No Clue, and Macklemore. So it this is the underground sound of the Northwest it’s a really cool extension of that region’s grunge rock roots. That sound surprised me in how well it was able to blend with Hip-Hop and it absolutely is the perfect sound for the stories and experiences of Jesse B. Dawg.

While this album shines by being the perfect sound for this artist, it struggles at times in the more technical areas. Some of the intros and skits were awkward and didn’t quite seem to fit. The delivery at times was boring and didn’t draw me in the way I wanted. The flow was a bit too structured and forced in the early part of the album, but this was ironed out after about 3 tracks. While most of the album is quite good, a few of the tracks are just too chaotic and unorganized, and that’s really where this album suffered the most. Overall a good album that introduced me to a different sound and I enjoyed more than I anticipated I would.


🌟 🌟 🌟

(3 out of 5 stars)

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