Tony's EP, Love Life, was also far from disappointing. If the music industry is just — which, well, never mind — when we write this article again next year, he won't be in the same position he's in now.
Numerous others' efforts warranted far more ink than they received: Hollywood F.L.O.S.S.'s Art or Fiscal Intelligence LP was strong; Lil' O gave us The Flood; G.R.I.T. Boys released bump- and drag-heavy Southside Living Legends; SPM managed to drop Last Chair Violinist from prison; Rob G's Power of the 16's was brawny as usual; Presto's The Prestige was a surprise; Sans Bayonet's Lucid Dreams was, at times, fantastic.
Still more: K-Otix's The Reason should certainly be mentioned somewhere; Fresh 2 Def Media & Hero's Stay Fresh Mixtape listens very well; K-Rino's Triple Darkness trilogy was noteworthy; and Nicolay and Kay's Timeline was outstanding. Just to name a few.
But the fact that so many were left out is more good than bad. Houston is rapidly evolving into a more rounded and — dare we say it — open-minded hip-hop city, represented now by more than just a furious five.
Two thousand five was eons ago, after all.
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