Weekly Fix #5 ('21)

Welcome to the Weekly Fix, where I go over everything that I’ve listened to that has come out within the past week. I’ll give a little blurb about the project/single with my feelings on it thrown in there, throw some descriptors and other artists names to give you an idea what the project/single is like, and link to all applicable streaming services where you can find the music. The next section will be devoted to projects that have Bandcamp or online webstore links, to give a greater highlight to those artists who you can support directly. The final section will be for projects that have had a Hot Deal-type release, but have recently come to streaming. Click here to see a list of previous Fixes.

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Hello again everyone! It has been a couple weeks now since my last Weekly Fix, having skipped entirely over Week 4 to give myself some time to get shit done. Well, I’m back, and while little got done (and in fact things seem to have gotten more crazy), I was happy for a few days there that I didn’t have much to think about other than the immediate. Once I got through last weekend and saw that I was going to have 25 singles and 15 albums to write about…. well this is coming out late-night on Friday night for a reason.

I thought I would be given a break given that the week before last was fairly light, so I figured “I can just combine the two weeks together! I’m a genius!”. Well then last week threw a fucking curveball and dumped two dozen projects on my head. Over the two weeks we’ve got new projects from Tha God Fahim & Your Old Droog, Hus Kingpin, Peewee Longway, Ty Farris, and Lil Skies, among many other projects and a shitton of smaller singles. The playlist for this week (which you can find below) was three hours long, if that is any indication of the amount of product we’re talking about.

Next week (aka: Today, right now) I see that I have a new Conway the Machine project to check out (from Big Ghost, no less) and an album from Pooh Shiesty, but I think we’re looking at a slower week in any case. Check out the few things I see coming in the future over on my Upcoming Heat page, which is a sort of calendar where I keep up with projects that have a release date.

And that’s all I got for you. Like always, I appreciate your patience while my life continues being various shades of shitshow. The job won’t get these last few brain cells I have left; those are reserved for all of you guys. Big thank you to my readers who tap in every week to the shit I got going on, and here’s hoping life gets easier for all of us in the near future (another stimulus would be great).

Here’s a link to the Week #5 (’21) Playlists

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Here’s a link to the Week #5 (‘21) Singles

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Here’s a link to the Week #5 (’21) Art Appreciation post

-----STREAMING PROJECTS-----

Peewee Longway & Cassius Jay – Longway Sinatra 2

Cover Artist: KD Designs

Longway had a moment, coming up on a decade ago, where he was one of the most sought after commodities in Trap music, and I’m talking about the original trap music pioneered by T.I. and Jeezy back in the day. Very soon after his blow-up, with whole projects with Gucci Mane under his belt no-less, he became a fixture in the feature game, handing out verses to anyone in the ATL umbrella. But now, after such a long time, it seems like the hype behind the man, and the movement that has moved on to the pop-trap that occupies today’s mainstream, has all but died… but that doesn’t stop him from enjoying and work he does, and putting out the best quality work he can with his mixtapes. Longway Sinatra 2 at times feels like a time capsule to those long-gone times, especially when hearing the flows and voice of Longway; the Gucci influence is unmistakable, but you can even still hear some of the ferocity and hungriness of guys like Waka and even early Migos. The hooks are the ones that are going to get you on this project, however, sounding honestly like this entire project was build off of the back bone of a dozen incredibly well-written choruses. While Longway is boisterous and exciting to listen to, even after all of this time, this project would be what it is without the fantastic production from Cassius Jay, a name (and producer tag) that anyone familiar with the genre should be able to recognize… but that’s just it: I had heard the name and everything but I hadn’t stopped to think about how long he’s been grinding, and how many songs I can attribute their greatness to his beats. This tape is something else because of the strength of the beats, a concentrated effort at a true collaborative level that make the beats slap harder, make the instrumental melodies fun and interesting every time, and allows for some creative interpolation that draws upon real influences of these two men (the final track being a Prince homage is just fucking phenomenal). I wasn’t expecting to enjoy this project as much as I did, and I encourage anyone who has a passing knowledge and fancy for Atlanta trappers to give this true-blue traphouse record a shot.

Spotify/YouTube/Apple Music

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Hus Kingpin – Portishus

Cover Artist: Dani

Hip-Hop has its fair share of characters whose skills seem to age like fine wine, and there are few out there who can hold their candle up to Hus’ profound influence and legacy. For a decade, this man has been crafting, building, refining his craft and beat selection, and networking to bring into the light some of the biggest names in the underground today. If there is an underground rapper alive right now with any clout, chances are they have Hus Kingpin to thank for a part of their success; the man recognizes real, plain and simple, something that is evident in all of his albums when you look at the feature lists. While he takes on a lot of the more spacious and cerebral beats solo, he invites his cohort and padawans to do battle on the disgustingly filthy ones; Nems, Ransom, SmooVth, Willie the Kid, Big Twins, and Vinnie Paz are all a part of the madness, sparring with the beat and each other as much as they are with the Kingpin himself. Whenever Wavo gets on the microphone, it’s like smoke clearing, being greeted by a sage of wisdom…. on how FREAKY these women out here are oh my god. Some of the shit this dude says (albeit entirely poetically; only Hus can make spitting in a girls mouth poetic) is both hilarious and thought provoking, really channeling that sexual energy into something menacing but cryptic. But the crux of this record, and why it sticks out the most of any of his records I have listened to so far, is the tying in of themes and motifs from the band Portishead. Now I had never listened to Portishead before Portishus came out, but I went back and listened to their album Dummy to see if I could make a connection between the two: besides maybe similar samples and a reference to their lead singer, I’m not seeing anything concrete about the connection. However, I can definitely see that the style that Portishead was peddling waaaay back in the mid 90’s is pretty spot on with the vibes Hus and friends push out on a consistent basis today: not too busy, sparse and sometimes frightening samples, very sparing use of drums. I’m not at the point where I think that this is Hus Kingpin’s best project, but I do think it’s his most ambitious yet, and is something I have been eerily drawn back to every day since I’ve heard it. For fans of hip-hop, especially that old-old shit, Portishus is a must-listen.

Spotify/YouTube/Apple Music

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Lil Skies – Unbothered

Cover Artist: [Unknown]

Skies is someone who is entirely comfortable making and releasing the same music he always has. I’m reading a lot about how he’s talking about growth and all that; while I respect that Skies grows as a person, he shouldn’t have to prostrate himself in front of his so called “fans” to try and get them to listen to his new music (and I say “fans” because his fanbase is incredibly toxic towards him). All of this is to say that Unbothered, while I do consider it to be a very good project to my tastes as someone who likes a vast majority of Lil Skies’ work, to be about the same as his other projects. His melodies are warm and buzzing, but always with that naïve and youthful edge, almost akin to a emo/punk kid but not quite *that* edgy, and his lyrics reflect this metal state of partying and then being sorry for partying. It’s not so much multidimensional as it is a few different characters and moods he plays off of in his songs, but despite that he can come with great material from both sides of that aisle and scratch all of those Soundcloud rap itches that I have. Something that you can allllwwaayyysss count on from a Skies project are the beats being magnificent, with a couple always standing out as insanity. They are all moody and processed trap tunes, but CashMoneyAP’s Excite Me beat has got to be one of my favorites so far in 2021: I love those squidward-synths he’s got going on here, and the slaps mix perfectly with the chords to make something completely off-kilter yet still can serve as turn-up material. If you have ever fucked with Lil Skies, give this a shot, because, as a fan of his previous work, I can also stand to listen to more of it. Fans of Lil Durk, Lil Uzi, and Lil Yachty will be right at home here.

Spotify/YouTube/Apple Music

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Rich The Kid – Lucky 7

Cover Artist: [Unknown]

*THIS* EP is the secret to unlocking the potential of Rich The Kid. I’m not trying to shit on the guy or nothing, but a lot of his previous projects suffered from tracks that needed a bit more love, or B-Sides that should have been relegated to the sidelines. To solve this problem, you’re left with two options: spend more time with a project, or release a smaller one. Lucky 7 is distilling the winning formula that I *know* is inside this man into something that is palatable and even superb to those looking for low-investment but high-entertainment trap music. His flows are rough and sloshing, stuttering through syllables like someone who truly can’t find the beat, but the ramshackle nature actually manages to keep your attention with the ways his voice just can’t manage to stay stable. At his best, you’re getting quick flows and some funny bars, and hooks that, with only 7 songs representing the best of his ability, are well-written and bouncy. The bounciness come from the beats, which are different shades of DaBaby and OT Genesis with some sentimental YoungBoy NBA thrown in there, but the guests he brings on also help the freeform and spontaneous party-feel. DaBaby himself, Mulatto, Flo Milli, and the Migos (minus Offset) all make this short project a revolving door of great guest verses to go with Rich’s solid offerings. All in all, this is solid Trap, a great listen for anyone wanting something easy to listen to this week.

Spotify/YouTube/Apple Music

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Peso Peso – House Arrest

Cover Artist: Jayy2hardgfx

The state of modern Houston is a melting pot of many different sounds and styles, and thus an easy market to get your name out on the street and make a career (even if you’re music doesn’t travel too far out of the city). There are exceptions, Sauce Walka being the first and foremost, but most of the other rappers making waves in H-Town right now are either under Walka’s umbrella, take heavy influence from Walka’s style, or don’t have enough of a following yet to make music that can even be said to be mixed or mastered properly. All of this explanation is a roundabout way of explaining why I think Peso Peso is such a unique artist in his field; yes, he has ties to Sauce Walka and his affiliates, but his style and background are different enough from everything in the field to standout amongst his peers. His flows and wordplay can be traced back to the HoodRich Pablo Juan sloshy whispers and Rich The Kid’s completely botched flow, but the energy is elevated enough to maintain your attention. His ear for hooks (which is something most Houstonians seem to have a knack for) is top-notch, which is a great skill to have for someone on the mixtape grind given most tapes devolve into cheap and formless filler tracks. The clear distinctions come from his personal style: there are very few popular rappers from the city (that I’m aware of) that rep their Mexican heritage as loudly as Peso does, and it drips from his album covers on down to his lyrics. Usually, you’d have to take a trip to L.A. to hear stuff like this, but Peso has you covered. But, hands down, the best part about this album are the goddamn beats, something that is totally not surprising given that most of these guys (Rizzoo Rizzoo, Sosamann, etc) are collecting some of the hottest trap beats out there. Inventive, instrumentally fascinating slappers with crazy samples and obscure sounds make up the majority of this project, and even if you can’t get behind the hands-off attitude Peso presents, I still highly recommend giving this shit a listen in the car.

Spotify/YouTube/Apple Music

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The Musalini & O Finess – No Squares in My Circle

Cover Artist: Huey P.

You’ve got to give The Musalini credit for two things: his rate of release is fucking intense, and, I swear, this dude gets sent the best beats out there, ones that only seem to be getting better as his career goes on. I fucked with Pharaoh Chain heavy on the strength of the beats alone, and Return Of The Oro was a pretty good record too, though I could have used a few more features on there personally, so by now The Musalini is in my top list of artists to look out for in the game right now. No Squares in My Circle is pretty much the album that you’re heard before in these previous projects, especially in the rapping department where Mus is giving you about the same as before (that suave and charming motherfucker that he is), but you’re getting a new spread of A-tier beats for him to lavishly describe his life over. I say all of this while having yet to speak on O Finess because, to be honest, I have no idea who this dude is, which isn’t at all a bad thing given that he impressed me on this project. He provides a great bass to the dynamic while The Musalini has been all treble. I have seen him a single time before, on that Return of The Oro project I mentioned earlier, and the last thing I expected from that collaboration was a whole album with Musalini, but here we are. The two rappers are similar in that they opt for slower, ambiance-laced spitting as opposed to anything too energetic, fitting well with the soul/R&B-emblazoned beats that make up the album. The features are the faces you’ve seen before: Planet Asia, Izzy Hot, Ice Lord (who is a dude I’ve been meaning to dig deeper into, cause I’ve loved every one of his features lately, especially this one), and a handful of guys who seem to have connections to Finess more than Mus. If you’re looking for that heavily sample-driven Motown/old school funk hip-hop, then you can’t find anything more potent than this record right here.

Spotify/YouTube/Apple Music

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Erick the Architect – Future Proof

Cover Artist: Jean Jullien

I have been a fan of the Flatbush ZOMBiES for many, many years now, having followed them up through their humble beginnings on through to their major label moves. Throughout the years, things may have changed with the group, but something that has remained consistent since that first mixtape for me was this: Erick has been my favorite member. Arc was one of those first guys I had gotten into that produced everything I heard him on, a respect and fascination that I weighed against the admitted rapping strengths of Meech and Juice, and to this day whenever I think about the ZOMBiES the first thing that comes to mind are some of Erick’s mindblowing production moves of the past. But, like I said, things have changed, and where Erick was once won’t to sample away at 90’s nostalgia records, he is a much more freeform and organically driven producer, opting to physically create the music that he’s looking to rap (or even sing nowadays) over, much in the way guys like Tyler, The Creator matured in their beat-making career. This means two things: one, the beats on here are much tamer, reflecting an emcee who doesn’t want to shock the audience with hard, bumping hardcore hip-hop cuts (which is a trend with the ZOMBiES at large even before this EP), and that, two, there is a lot more of a jazzier tone to these beats. Erick’s earliest solo projects, like the Arcstrumentals tapes or even, for those who remember, his Almost Remembered LP from waaaaay back, are much more akin to Future Proof, showing that Erick has merely put these feelings on pause for a long time before returning to them on his own time. There are chill keyboard passages, lots of guest singers, expert synth work, and a reliance on drums that sounds more folksy or R&B oriented than hip-hop. Don’t go into this expecting anything close to the ZOMBiES’ normal vibe; this is a project of more emotional depth, personal struggle, and political activism.

Spotify/Apple Music

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Slimmy B – The Peoples Champ

Cover Artist: [Unknown]

I haven’t been keeping up with the goings on of everyone from the now defunct (maybe??) SOBxRBE, especially in the realm of solo projects of their members, but I do know that DaBoii and Slimmy B are among some of the best feature artists you can find in the West Coast. With that being said, going into Slimmy’s mixtape here, The Peoples Champ, I wasn’t 100% sure what to expect: being a great feature artist doesn’t always mean one is a solid solo performer, especially when building out an album with hooks and more than a couple verses (which being in a group also helped with). I’m pleased to report that Slimmy B came come through with a great record, and his grimy and strained voice is perfect for the sluggish and impactful choruses needed for that low-down-dirty West-Coast vibe. This dude is like a mixture of Eazy-E and E-40, coming with flows that speed and slow perfectly, and topics that range from the raunchy to the violent. While I think the best tracks here are the ones where he invites others to join him (DaBoii again hits it out of the park, as well as ShooterGang Kony), I can see the potential for some great full-length material beyond this little mixtape here. The man has said he has several projects ready to go in 2021, this one being merely the first, so I’m exited to see how he can compete in the larger West-Coast scene, especially the incredibly competitive Bay Area right now.

Spotify/YouTube/Apple Music

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Tragedy Khadafi – Hidden Files

Cover Artist: [Unknown]

Do you know how long this motherfucker has been in the game? Since I was born. The level of respect that I see for Khadafi out and about on the internet is not even close to the amount he should be receiving. Having worked with damn near everyone worth their salt in hip-hop, released over a dozen albums, and dropped scores of feature verses, all of which have their standout moments, Tragedy Khadafi is a name that should be on every real hip-hop follower’s mind. Khadafi has dropped some stuff recently, but I consider his last “offering” if you will to be his Camoflauge Regime tape he dropped with Vinnie Paz here a couple years ago; coming off of that to this Hidden Files LP, I didn’t even make the connection that a lot of these tracks might be older, but I barely even noticed the difference given that the man’s quality has never been in question. His delivery and word choice is brutal, in the vein of those older killers like Ice T and Kool G Rap, but with a little bit of the kookiness of Sean Price thrown in there for good measure. The beats are a great spread of things you might find on a Jedi Mind Tricks or Immortal Technique album, some boom-bap heaven and others a bit more cerebral (like that amazing Adrian Younge flip on Enemies). Even the features are a great way to break up the album a bit, releasing some collaborations that wouldn’t have seen the light of day otherwise. I love Tragedy Khadafi, but I think letting that dude Apathy on here was a bad move hombre, because he sunned EVERYONE: Nems, who was the guest, Tragedy himself, RAEKWON, and every other feature on this bitch, because that verse he dropped was as hot fuckin’ fire. Get on this project if you want that old grimy shit, that sewer shit.  

Spotify/Apple Music

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-------SOUP’S HOT DEALS-------

Tha God Fahim & Your Old Droog – The Wolf On Wall St

Investment: $9.99

Cover Artist: [Unknown]

We’ve been waiting for this album for a while now, with both this and the DumpYOD tapes being teased consistently over the past few months, but if I were to venture a guess on it I would say that this tape was a bit more of a spontaneous release than I think the two were expecting it to be. I say this not because the quality of the tape is lower by any means, but that I think Fahim and Droog saw the window of opportunity while this whole GameStonks fiasco was raging onward and decided to drop what they had. A lot of the promotional material for this project (which admittedly could be for DumpYOD for all I know) is missing, tracks that I would have loved to have seen a legitimate release from, but what we’re treated with instead is classic Fahim vibes (given that he produced the entire thing himself). That is the key thing to take away here: this is basically a Tha God Fahim project, from the DIY boom-bap beats on up to the raps, with the kicker being that Droog takes some time on each track to demonstrate how great of a rapper he is. I could easily see this having been a solo Fahim release, but Droog takes the vibe up to the next level. It’s on the shorter side (again, because I think they wanted to capitalize on the hype), but I will never ever complain at a new Fahim project, and I will NEVER turn down more material from Your Old Droog. Listen if you fuck with dusty beats and quality rhymes.

Spotify/Apple Music

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Ty Farris – Practice Raps

Investment: NAME YOUR PRICE

Cover Artist: Trevor Lang

Ty didn’t have to do this for us, but he dropped a whole-ass tape of hot rhymes for whatever price you want to set. Just off of the strength of the bars, this is one of my favorite projects from the man, who has made a career on bringing lyrics just shy of a battle rapper, spit with the same conviction and heart, but tweaked and crafted in the perfect way to make enjoyable underground hip-hop. Ty Farris is the definition of a psychopathic thinker, coming up with shit that other rappers would have to sit there for a while to come up with; metaphors that really stretch reality, and wordplay that can easily go toe-to-toe with some of the other Detroit legends he’s gunning for. The other cool part of this is that there are quite a few beats on here that I recognize, ones that I can say that I appreciate Farris’ contribution to heavily despite their statuses. There’s some Alchemist and Evidence on here among others, so if you fuck with their production styles then this tape will be for you. 14 tracks released in this manner is a fuckin’ bargain, and one that you do not want to pass up if you fuck with aggressive emcees bombarding you with quality bar after quality bar over some tried-and-true beats.

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Remy Banks – the phantom of paradise.

Investment: $11.00

Cover Artist: Naomi Velez, Jacob Rochester, & Remy Banks

Despite being around for over a decade in the rap game, Remy Banks has very maintained a very slow rate of output. I don’t know if there is something going on behind the scenes with the guy, but to say that I’ve been waiting for this project for a long time would be understatement given that I’ve known about the dude for such a long time now… I remember hearing this dude back when Domo Genesis dropped his Under The Influence tape and thinking “wHeN iS this gUY GoNnA dRop A mixTAPE” (that’s how Tha Soup Dude talked back then), knowing that it would be a long journey until this album right here. There have been a couple projects in between, but nothing has felt as substantial and artistic as this piece of work right here, feeling like there is a real gem of knowledge and growth at the heart of the phantom of paradise., something that you can try and piece together as you’re listening to the album. It can kind of fool you a little: sort of like Pink Siifu, the “lazy river”-ish thing he has going on with his voice can betray a deeper mind, putting a thin gloss over the real situations and problems that Banks faces in his life and career. He doesn’t *sound* like Pink Siifu, don’t get me wrong, for over the years he has taken influence from many different characters such as Earl Sweatshirt, The Alchemist, and the eternally weird Wiki. More than anything he’s a chameleon of an emcee, fitting the vibes of a lot of different kinds of instrumentals in his own lower-energy way, the instrumentals themselves breaking up the album into very different detours. You can find straight forward New York Hip-Hop, tight vocal loops with pretty much no drums, beautiful samples, DJ work, and low-fi cerebral hip-hop all on this record, a great variety of sounds that makes every moment of the 26 minutes feel alive and bursting with creativity. Give this a shot if you fuck with Maxo, Navy Blue, or even some Boldy James.

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Bronze Nazareth & Leaf Dog – Bundle Raps

Investment: €7 (~$9.59)

Cover Artist: Mark One87

Any time I’ve seen Bronze’s name brough up it’s been within two contexts: The Wu-Tang and great production. So whenever I saw that Leaf Dog, Britain’s premier 90’s Hip-Hop beatmaker and wild man on the microphone, was teaming up with Nazareth for a whole project, I was ready for a Leaf-rapped project with solid Bronze Nazareth beats backing him up (probably a lot like the stuff he would put out with The Four Owls). Imagine my surprise whenever I got a Leaf Dog *produced* project, with all of the rhymes being done by none other than Bronze Nazareth. The dude has rapped before, but it’s been a minute since he made a whole album of it, spending the majority of the last decade producing projects for different artists. Speaking from a Wu-Tang perspective I can definitely hear some of that Killa Army and Killah Priest in his words, but Bronze Nazareth more than anything reminds me of the new cat Jamal Gasol on the microphone, having almost the same accent as Gasol does while he’s rapping; I can tell Bronze is drawing from a larger pool of wisdom given his massive career, so those Wu-Tang influences are obviously deep and strong. Leaf Dog, on the other hand, has turned into one of my favorite producers here in recent years, a man with a complete understanding of what makes that raw, boom-bap style appealing on down to the root structures. In recent years I feel like he’s become more bold and standout with his sample choices and loops, keeping up with artists like The Alchemist in finding ways to bring the most out of a sample with fewer elements backing it. There are many cuts on here that are the crunchy and metallic Wu-Tang cuts of old with solid funk and soul samples, but there are just as many bare-bones vocal sample loops, much tighter than a lot of people are comfortable with even nowadays. Leaf really just seems to be on the cutting edge of this style of hip-hop, and his attention to detail and ear for samples is on full display here on Bundle Raps. Together, I think Leaf Dog and Bronze Nazareth are like peanut butter and jelly, complementing their styles perfectly across this full and satisfying LP.

Spotify/YouTube/Apple Music

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J.U.S. – GOD GOKU JAY-Z

Investment: NAME YOUR PRICE

Cover Artist: Zelooperz

Another album this week placed at the rare “name your price” option, J.U.S.’ GOD GOKU JAY-Z is a completely different experience than Ty Farris’ album. Coincidentally, both of those dudes are among the numerous personalities of Detroit’s underground, but J.U.S. has a little bit of a clout boost behind him: he’s releasing this project on Bruiser Brigade Records, Danny Brown’s label that is looking to get a major push in 2021 if the signs are being read correctly. Given the affiliation, it will come as no surprise that this record is weird as fuck, and in more ways than one. First is the most prominent: J.U.S. himself, who is very clearly a product of Detroit in pretty much every way. He sounds identical to guys like Phat Cat and Guilty Simpson, so much so that I wouldn’t be surprised to hear if J.U.S. was a cousin to one of those dudes, and as such his voice is incredibly deep, slow and lumbering over a beat, with his rhymes being deliberate. His flow is laid-back, but he can still get a bit quicker and spit some great lyrics, especially when bookended by other Detroit talent. That’s the second weird thing: Bruiser Wolf and Fat Ray are somewhat straight forward, but Danny Brown himself has three credited features, and while one is literally like sentence, his other two appearances (especially Have Mercy) channel that old Danny Brown more than anything I’ve heard from him in a very long time. The beats are the third part of this, sounding like an old car, barely running, that is just about ready to rust apart at any moment. You get dull and thudding samples interspersed between loud and shrill metallic beats, a general spread of boom-bap drums and industrial tones. This is a left-left-field hip-hop record, so brace for the oddity accordingly, but I think anyone who can get into Zelooperz and Westside Gunn (and, of course, Danny Brown himself) will find something to love on this short project.

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RJ Payne – Beautiful Payne 3

Investment: $13.00

Cover Artist: CR the Beast

Another project in the Beautiful Payne series is down and, while I feel like I’m writing about RJ Payne every goddamn week right about now, I still haven’t gotten tired of the formula yet. I won’t say much about this because this one is pretty much identical to the previous tape, but given there are some different song topics and changes in beat-scenery. Beautiful Payne is meant to be a detour in which RJ tackles more emotionally charged subjects, like the relationship with his father, his relationship with women, and the black relationship with law enforcement, a far cry from his usual underground serial killer persona he goes for. His flows are similar, his rhymes schemes are in line with his usual fare, and he raps just as aggressively as he normally would despite the more solemn subject matter. If you want hip-hop that feels a bit more important and substantial, this will be the stuff for you; talking about real issues in the classic hip-hop fashion.  

==> RJ Payne's Website <=

Spotify/YouTube/Apple Music

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