Jan 122012


Why did you choose to call it Back $ellin Crack?

I chose that title because that was the mentality. I had a line on a song where i say “five dollar Bandcamp, I’m back selling crack“, it motivated me like, damn for real. It’s not me saying I’m back walking around grinding, it’s saying I’m charging for this dope shit I’m finna whip up.

Hustling is a common topic in rap… do you think you approach it differently than other rappers?

Everybody approach it differently, except the ones that come and go. Grinding gotta be top three shit that people make songs bout.

How was the process of making B$C from idea to Bandcamp?

It started as just this is my next project then it got crazy hyped up after i put the pre-tape out. The pre-tape was just collection of songs sitting around, so in November, December i started working with DJ Ambush and went in. We did a lot of construction on it that I never did on any past tape, worked with new producers just to give it a new feel.

Around October I was getting beats from Da Vette Boyz. If you listen to the pre-tape you can hear Count Stacks. I really wanted to do the whole tape with them, but they wouldn’t get the beat files to me. Without the beat files you can’t do much with the beat, and how I was doing this project it just wasn’t gonna work. By the time money wasn’t a issue. It was no response back, so I went a whole new direction with the tape.

YS really snapped on this tape. Who is this producer?

He’s been working for a long time, a producer out of Fresno. He go in. Y’all will definitely see more and more of him as time progresses.

Where did you record B$C? It wasn’t no wardrobe session, right?

Haha man, it’s recorded at the nest, DJ Ambush’ studio. He’s good peoples, knows damn near any rapper you could think of. I did I Smoke Cause I Dont Care About Death in my room engineering it myself so to finally have someone to do it for me felt really good. Even if I gotta pay em. Wish i was getting paid to do it back then.

It’s the most time taken with this tape. I made ISBIDCAD in a week flat, minus Kissin On My Syrup which had older tracks. I put real life Squadda dollars into this project which is new on this level.

Since we’ve last talked, you’ve made music with G-Side, Danny Brown, ASAP Rocky. Any other artists you looking to work with?

Whoever on the same shit. Just got back to do this interview from our first in-person studio session with G-Side & Davinci from Fillmore, SF today.

How did you hook up with G-Side?

That happened through a company named Yours Truly. They got us in the lab together before we had our first show with em. They’re cool peoples too, been seeing their name ever since Internet started fucking with us. They got bars, could really rap.

Do you have more shows coming up?

Too many, catch us December 21st in SF performing with Davinci & G-Side, opening for Danny Brown & Kid Sister in L.A sometime in January… y’all gotta look it up.

How did you hook up with the ASAP fam?

Crazy thing is he hit me right before he took the world over so I’d say God’s blessing and the way we live our life.

What went through your mind when arriving in New York?

Mann I was cool until we passed up Lefrak City on the highway, but the streets & projects was above us so I’m looking up going crazy like nigga “LEFRAK”… Queens! If I had twitter on phone at that time I’d got on it earlier. I fasho bragged that night.

Did you record Down in the studio together with Danny Brown? How was it meeting up with him in real life?

Naa, I had Down all the way done with just me rapping, and I sent it off. It comes back and I’m like damn i gotta rearrange the song, so I put Shady on it too. We met Danny Brown like three, four months back at Fader Fort. We was backstage sipping, sitting down then Danny Brown pops up out of nowhere, pretty lil white girl with him. That nigga’s really cool, I fuck wit his whole demeanor. Shit got crazy when ASAP Rocky was performing, a fight broke out and shit, everybody scrambling and shit, so we go back to the backstage area to get our other shoes and this nigga Danny Brown still in last place we left him with the bitch haha. Didn’t even know what was going on.

(Squadda B, Dope G, Mondre M.A.N., Shady Blaze, Danny Brown)

Even though many of your beats are very mellow, you seem to be very energetic when rapping live. What tricks do you have for putting on a good show?

Couldn’t tell you, besides alcohol and smoke will slow you down, but being sober will make you be fake energetic – if you’re anything like me.

How did it work out with the being sober for a month thing?

I didn’t last a month but it made me see it’s easy to stay clean in daytime. I get a lot of work done and am super energetic sober. I don’t think people want that.

Like other Greenova releases there was a lot of variation in ideas and sounds on B$C – you ever feel like making more of a strictly conceptual album?

Already ahead of you, Main Attrakionz Bossalinis & Foolyiones, the album coming in a few months thats about as close to conceptual we gonna get.

What else are you planning for the future?

A hectic year living life. Introducing the fam to y’all, which I’ll focus on doing with my last solo of this year.

All chapters of Greenova?

Them plus some, thats what I’m saying. Robbie Rob was here meeting Kreayshawn’s manager today. February should be next month you hear from all them again, minus maybe Shady Blaze, who might drop before hand.

Do you have any relation to Livewire, HD, or any other Bay Area rappers outside the Greenova fam?Besides seeing these niggas and seeing bitches i know in they videos, nah. Nobody is blood relative to any rappers out here besides Mondre, Clyde Carson is his cousin. And my cousin’s dad is Seagram from East Oakland who died in the 90s.

Will you put out your music and present yourselves to the world differently in any way this year?

Yea, in a bigger way. Clearer visions, looking like money.

At what moment did you think: “this rap shit is really working out”?

When I started making stuff happen with the money it brought. Every time I needed something and could get it easily I started being thankful of the path I chose for real.

As you’re getting more famous, what are some traps and pitfalls that you’re watching out for?

My family, period, just their safety.

Dec 312011

The Jacka f. Ampachino – Starz

Innan Brandon började skriva självhjälpsraps över Imogen Heap-samplingar och innan Main Attrakionz rappade om perfekta himlavalv över fluffiga ambientloopar hade The Jacka redan vanan inne att spela in över mjukt rundade ljudmattor, uppbyggda av akustiska gitarrer, smekande new age-synthesizers och upp-pitchade indie pop-vokalister på refrängen.

Det var ett perfekt soundtrack för den sortens smärtfyllda erfarenhetslitteratur som han hade specialiserat sig på; samma introverta, varsamt sammansatta, dämpade men våldsamt känslostormande ögonblicksbilder som vi känner igen från Scarface, Z-Ro, Beanie Siegel, eller från hans samarbetspartner från Queensbridge Housing Projects Cormega (AKA Mega Montana, AKA dont front on me shorty your man’s working for me, AKA Im a reflection of the drama within, AKA världens bästa rappare).

The Jacka är farsa till 90% av de yngre rapparna från norra Kalifornien. Hans diskriminerande produktionsval inspirerar ännu den anländande generation att gå sin egen väg musikmässigt, särskilt nu när något Lex Luger-liknande är i det närmaste obligatoriskt för unga, hungriga rappare som vill sitta ner vid smörgåsbordet.

Back Sellin Crack blir släktledet övertydligt då Squadda B rappar över samma sampling som The Jacka körde över tidigare i år.

Dec 162011

With their fifth album G-Side declared their hometown of Huntsville, Alabama an Island.

To learn more about this nationally isolated, internationally renowned location and the music it has birthed, we’re going back to february this year, to the city of Malmö and G-Side’s only stop in Sweden on the European mini-tour that followed the release of their exquisitely executed Cohesive album.

G-Side named their first release Sumthin 2 Hate, but seeing them in the flesh, shining, proudly surfing a wave entirely of their own creation, there’s nothing to hate on. Even when the warm-up DJ insist on treating the crowd with the same ol’ tired ass boombap raps for a long ass time, and a fair share of squares trail off during the Alabama duo’s set to the more commercially oriented dance floor in the same building, there’s no denying that their majestic Prog Rap works surprisingly well in the club. ST 2 Lettaz and Yung Clova rap their asses off (stage routines might need some work, though), lining up one underground hit after the other. The bass is booming through the system, and fans arriving from far (shouts to Sonny AKA alabama187, Hugo, Sanna, Petter) all have a ball.

Backstage the crew is relaxing, ready to start, as ST 2 Lettas put it, “hanging out with the people”, and we get the oppurtunity to talk with him, rhyme partner Yung Clova, manager Codie G, and producer CP, who starts breaking down the structure of Slow Motion Sounds for us:

“In Huntsville – I don’t know if it’s been done anywhere else – we have a 6,000 square foot facility, and inside that we got eight studios. All the producers are under the Block Beattaz brand. We got R. Dot, ATX, Boss Man, P.T., Cees, 118, Fadel, myself, Mali Boi of course. They come to the studio, and just go studio to studio. There’s always something going on. We have young producers that we’re trying to bring up, but we’re really keen on quality. We’re just trying to give them time to mature and develop… we’re gonna get them in there and make them official.

Talking about other producers, Clams Casino helped you with Pictures.

Clams sent us the rough tracks and we went in there and stripped the beat down and built it back up, with his permission. I love Clams, Codie actually put me up to him. He’s super dope. He got crazy melodies, the illest samples. That’s what it’s all about.

You have a similar sound.

Oh yeah. I think sampling is the corner stone of hiphop. It’s what hiphop is to me. I grew up a big East coast fan: Nas is my favorite rapper; Boot Camp Click. I like the new stuff and all, but I’m a purist. That’s where my heart lies.

If we’re talking classic Southern albums, which would be your favorites?

When Outkast did Aquemeni, I wanted to quit. I loved the Witchdoctor CD, that’s one of my favorites. Young Bleed, I forgot what the name of that album was. Favorite groups… of course G-Side; I’m a little biased. I love Goodie Mob, Three 6 Mafia, of course UGK, all those guys. I’m a huge Project Pat fan… Skinny Pimp, Gangsta Black.

Any Screwed Up shit?

It really didn’t catch on with me, because I’m really not a syrup sipper. I did it one time and was stuck in one place for five hours, and said I’ll never do that again. I like Z-Ro, I like his style. Trae The Truth, he actually just grew on me…

Maybe Block Beattaz should produce for Z-RO?

We got some tracks with Trae. We got some tracks with Slim Thug. We got a couple with Pimp C before he passed.

You produced for Pimp C?

Yes. I think they got recorded but never released. We sent them off. 6 Tre G, he had that song Fresh, he was working with Trae a lot out there.

You got a lot of electronic sounds in your music, but I was listening to you the other day, and I thought, “this feels like a Barry White, Isaac Hayes thing”, the way you organize these sounds. Do you have an influence from this older generation?

Yeah, of course. But what we’re trying to do is get away from those typical samples, that people probably have used, and dig deeper. I’m really into the eurotrance music. I just bought the Katy B CD, that’s dubstep and trance.

So you’re into more electronic stuff, like dubstep?

Yeah, it’s growing on me. DJ Giraffo sent me a lot of stuff to listen to. It’s growing on me. I see how it moves people in the club, so…

Do you think America would accept someone rapping over dubstep?

Right now? No. But if we continue to get stale in the states, I think, yeah, they’d be more open to it.

The way you program your drums, do you have an influence for your complex drum patterns… or do you just take the 808 and freak it?

Pretty much, man. That’s our culture in Huntsville and Alabama and the South. The first thing you do when you get a new car, before you get an insurance and before you put gas in it, is to put speakers in it. You put the 12 or 15 inch speakers in there and let the trunk bang. The 808 is the cornerstone of the whole track. The influences from that are definitely Magic Mike, Three 6 Mafia… just aggressive drums, extreme low end. The East Coast influence comes with the sampling and the nice melodies on top of that, making everything beautiful.

In your music there’s a lot of things going on, while Magic Mike is pretty straight-forward. Is that something you came up with yourselves, or is there an influence?

I learned that from Mali Boi. This whole thing is the element of surprise, sometimes you might hear something for two bars that you won’t hear anytime else in the song. That’s his whole thing, he just wants to keep pulling you in. He got a strong jazz influence. He’s from Chicago, and pretty much well-rounded and well-versed in a lot of stuff.

I read in an interview about your very hectic work schedule. Are you still working a 9 to 5?

No. No no no. I’m actually working 9 to 9 in the studio now. I spend 20 hours a day in front of the computer, recording. We started something and now business is picking up. I just sit and record all day. That’s my job now.

Where do you get motivation to sit 20 hours a day in front of a computer?

Number one: Money. And number two: I filled out an application and now i gotta deal with it. It’s rough sometimes, but I get through it.

Do you and Mali Boi ever make beats together?

That’s how we started. But he records also. What happens is that I lay down the skeleton of the track, give it to him, he’ll do some things and send it back, and we’ll go back and forth. He’s pretty much the beatsmith. I do tracks, but my main focus is the recording, engineering and overall production of the song.

What have you learned touring?

That the world is bigger than my immediate surroundings. As far as music, I was watching the videos on TV in the hotel… Man, there’s some nice music over here. We actually did a track where we sampled Scatman John. Jackie Chain recorded to it, so that should be out soon.

Is that Pimp C stuff coming out?

I seriously doubt it.

How can that shit stay locked down?

Just politics and bullshit.

Can’t you get Obama on the line, maybe The Navy Seals, and just get it out?

Maybe! When we get a little bigger we might be able to pull some strings, but right now I seriously doubt it. One of my partners, I don’t know if you remember a group called Royal Flush, they were on Rap-A-Lot Records maybe 86-87… Royal Flush was the one that actually brought Pimp C and Bun B together to form UGK, they’re from Port Arthur also. And my partner, his partner was actually in that group, his name is Albert Bush, they call him Al-B, and he was really cool with Pimp, man. Pimp made a show in Birmingham, Alabama, and he took me to see him. Pimp used to write Al-B from jail, when he was locked up, so it was really crazy. They called each other by first name, he called him Chad. That’s how we had that connection.

What is your first memory of rap music?

My sister getting into trouble for having 2 Live Crew and I didn’t understand why. She would sneak down and dance to it when my parents were gone. She had 2 Live Crew, she had DJ Magic Mike. Those are my memories from way back.

What came after that?

I think Nas came out in 96, was that 94? Illmatic. I think that was the first time I could actually understand and breathe and… understand the impact of the music. It sent chills down my body just listening to it. How could this young cat know so much and speak so eloquently?

How old were you then?

I was fourteen. I’ve been doing this since I was nineteen years old.

Did you mostly have access to New York rap when you were at that age?

That was pretty much it. I went to store when the music dropped, that what it was all about. First thing you do, get the cd, get the plastic off of it, put the cd in, take the book out, sit in the car and listen to it. That’s one thing I miss: books.

I remember when I bought Doggystyle and it had the comic in it.

Yeah, that was a good record. That was when I was a fan. I didn’t start doing music until I was nineteen or twenty. I was at school playing football and everything. I played drums for a year, but I played football and wasn’t thinking about nothing else. But my brother, Chico, they were actually rapping, and it seemed like they were having fun. I went and bought Virtual DJ, you remember that program? I got that program, started doing beats, stopped going to class. And that’s pretty much how I started doing it first. My parents didn’t like it. My mom bought me a keyboard and she says she regretted it – but she doesn’t regret it anymore. She bought me a $600 Yamaha QS 300.

That was when you started, at nineteen – twenty hours a day?

Pretty much. It was all day everyday, then when I was younger. That’s all we did. Get high, bring some girls to the studio, get a bunch of Hennessey, get a bunch of 40′s, and just kick it and make music. Believe it or not, me and Codie G were the rappers.

How did the scene look in Alabama, when you were coming up?

There was nothing, people were like, “What the hell are you doing? Take your ass to school, get rid of this shit.” There were a couple of local groups. At Ease, J to the third. At Ease actually made it to Harlem to The Apollo, but they got booed of stage. There were three black dudes and a white guy in the group, Mike; actually the guy that got me started on doing production. That was big for us. For a long
time, man, we weren’t nobody really doing anything. We were doing all the industry stuff, we were taking our music to radio stations, they would tell us, “you gotta sound like this”, we would go back and do it, and waste time, and take it back to them, and they’d say it had to sound like something else. We were like, “fuck it, we’re just gonna make the music we wanna make”.

So when you realized that, did you have the same vision that you have today, soft, nice, beautiful melodies, hard ass drums?

Yeah. We’re actually gonna leak some of the old stuff to show you that it’s a derivative of what we were doing. Just don’t laugh at it, we were crazy. We were on some real gangsta shit back then. Calling out snitches by their government names. That was how we were living. But just growing up, being mature; we got kids now. We’re conscious of what they might hear. We’re smack dead in the middle of the street so we can’t avoid it. I deal with jackers, robbers, dopeboys, all types of people everyday, so I’m right there in it. I see everything. But I think we actually had an impact on the crime wave in Huntsville, because everybody is in the studio recording and rapping about it instead of crawling through your window. So, you know, I think we’ve had an impact.”

Jul 132011

Araabmuzik kombinerar intrikata åttanollåttor med Orbital-synthar på Electronic Dream, och dundrar fram ravemayhem på Underground Stream som skulle kunna platsat på en obskyr Underground Resistance-tolva. Den unge producenten är gammal trummis, vilket märks då ett stiltvångsavlande löper som en tråd genom tapet.

Flera låtar lider av trancelikhet, likt många andra försök in i elektronisk hiphop, och ärligt talat så avskyr jag 99% av den genrens låttänkande och ljudpalett. Andra låtar är bara ren fucking ost. Ändå träffar Araabmuzik rätt påfallande ofta i sina elektroniska exkursioner.

Som full-blown musiknörd är det fascinerande att leva i tider där artister hyfsat ofiltrerat kan släppa sådana här experimentella excersiser – genom en .zip-fil direkt till lyssnaren (genom en länk som jag inte längre hittar, dessutom).

Oct 092010


Hur kan man hata?

I dagsläget är dom här beatsen det närmaste man kommer känslan från de första låtarna på Straight Outta Compton och 36 Chambers. Kan man inte förstå hiphop som asocial upploppsmusik är det kanske bäst att sluta läsa här.

Hatten av för 19-årige Lex Luger, som står bakom merparten av produktionen.

Waka Flocka Flame är en helt och hållet wack MC – men det har aldrig enbart handlat om idéer och matematik och budskap och rimstrukturer. Hans energi och hur han använder sin röst som ett instrument gör honom till en grym rappare.

Det här är inget helt kompromisslöst album, men till skillnad från det nuvarande industriparadigmet där man endast hittar ett fåtal bra låtar bland en topplistesökande sörja, är det här klubbförsöken som är undantagen på ett förvånansvärt sammanhållet och fokuserat album.

Oct 062010

Brytburken pumpar mycket Prodigy i dagarna.

Det spelar liksom ingen roll att Keith Murray lade honom raklång eller att han inte har lärt sig av med att snacka skit bredvid munnen som en villakvarterskärring. P kommer alltid tillbaks med hårdare raps. Det är det viktiga, det är musiken som vinner i slutändan.

Vi har skrivit om hans musikalitet tidigare. Hans rader verkar vara simpla, men det ligger en säregen komplexitet bakom rimbygget. Han är kanske bäst av alla på att välja rätt ord – och lika viktigt: beats.

Prodigy – When I See You Remix feat. Cormega (produced by Apex)

Extramaterialet till H.N.I.C Pt. 2 är värt att kolla upp. Spåret ovan är mitt val, i hård konkurrens. Ett av senare års hårdaste beats, halvvägs mellan 90-talets boom bap och Miami Vice-futurism.

Producenten Apex ligger även bakom 50 Cents I Get Money, alla rappares freestyle-underlag-of-choice för några år sedan.

Självklart vinner du med Mega Montana på din remix. Han behöver bara anspela på sin stamtavla för att andra rappare ska vifta med vita flaggan (vad annat kan dom göra?). Cory är för ärlig, för nära sin verklighet för att låta fler mördarvinjetter komma över sina läppar. Han behöver inte bevisa något längre, hans CV talar för honom. Låt honom samla på sneakers, bedriva lite välgörenhet, leva suburban family life och bara vara lycklig. Det har han förtjänat mer än någon annan.

Prodigy – Power Rap Feestyle Interlude

Varför har inte detta nått mina öron tidigare? Man tror man har hört en del New York-rap… och så har man missat något så här hypnotiskt och fulländat.

Från samlingsskivan QB’s Finest, producerat av Havoc (via POWER CYPHER SUPREME TRUTH ALLAH AOW – en av de bästa bloggarna just nu).

Oct 052010

Lee Perry – Return Of The Super Ape

Jag lyssnar bara på rap. Och en hel del dynamisk, vällagrad electronica. Men hur tacksam jag än är för det revolutionerande, sinnesutvidgande arbete som Marley Marl, Paul C, Mantronik, Shocklee, Dre, Muggs, RZA, Havoc, Premier och Large Professor är ansvariga för så måste jag erkänna: vad producenterna på Jamaica sysslade med före dom var ännu mer revoulutionerande.

Låten ovan: högmodern zombie-musik… extra-beatet i slutet a la Temples of Boom… glas som krossas i bakgrunden, plåtskrot slås mot plåtskrot, elektriskmagnetiska ekon, spökröster… tapemanipulationer… ljudsystemens multiplicerande… lager på lager… effektlandskap… den malande vardagsrytmen… det vetenskapligt-religösa studioarbetet… ur detta växte all högmodern populärmusik fram.

Jul 102010

Ena halvan av Spotrunnaz fast med massor av plantor.

Rap-stjärnor röker weed och det är helt i sin ordning. Då super de mindre, svinar mindre. Mårten Sakwandas gräsproduktion förebyggde, och skulle fortsätta förebygga, om inte lagen vore så trång, ett flertal fyllebråk, fyllevåldtäkter och allmänt jobbig stämning. Mycket mindre minnesluckor. Mer musiker mastrandes mästerverk.

En betydande del av cannabishandeln består av detta – hemmaodlare som säljer till kompisar. Ingen maffia. Inga överdoser. Inga kids som far illa. Ungefär så.

Denna andel inhemska odlare bör öka. De internationella narkotikanätverken är inte det bästa alternativet. Bort med maffiamakt, fram med lägre priser, bättre kvalitet, beskattade vinster. Bort med långa transportsträckor, fram med ekologisk odling. En avkriminalisering skulle även dämpa knarkromantiken, och det ödesdigra sociala utanförskap som följer med bruket. För att inte nämna det legala utanförskapet, och de samhälleliga kostnaderna, om man åker fast.

Motargumentet: svenskarna är inte mogna en avkriminalisering. De kommer löpa amok. Reefer madness 2010. In da Sweeden. Bruket kommer att öka? Den statistik som jag kollat på angående legalisering - och även ren logik - säger mig att folk stoppar i sig ungefär vilka preparat dom vill, oavsett lagstiftning. Så har det varit sedan man livnärde sig på rötter och mammutstek. Nyfikenhet och njutningslystnad är starkare än statens lagar. Och den här misstron mot pöbeln har historiskt sett gjort mer skada än alla droger i världen. När är folkhemmets Sverige redo att bli avdomesticerat?

Däremot spelar tillgång och efterfrågan, och framförallt den sociala situationen, kraftigt in på hur vi använder droger. Utanförskap och ekonomisk knapphet är som bekant ett gott underlag för missbruk. Klassfritt Samhälle – det vore ett riksförbund värt namnet.

Jul 082010

Youthful expression is vital for the health of rap.

New York and Houston veterans still bring it hard, making sure rap music survive – but where are the younger cats?

While reading Yes Yes Y’all – an account of the birth of hip-hop culture in the seventies, made up of interviews with the people who made it happen – I see all the scene’s innovators being sixteen, eighteen, at most twenty (and the first time Grand Wizard Theodore showed the world his art of scratching he needed to stand on a milk crate so he could reach the turntables). Just like later innovators LL Cool J and A Tribe Called Quest and Snoop and Mobb Deep when they made their marks in the game.

The last decade can be seen as a transition period for rap music. The mixtape dominated as a compromise between the golden era album format and the locally based, globally and instantly spread, viral forms of distribution that are now establishing themselves (Youtube, Twitter and beyond). Most mixtape rappers still saw their goal as a major label contract and a big shot produced full length. But it was a long road to walk. Most got chewed up by the machine, and the few who made it had become fully media trained and business minded on their way. Music turned stale. Youthful expression went away for a decade.

Fresh and innovative rap music is rarely made by adults. It’s never born in the meeting rooms of record companies. It’s still based on teenagers in dead end areas messing around with new technology. Just like when Flash and Theodore defined modern music in the urban wastelands of South Bronx some 35 years ago. Like Golden State based Lil B and The Pack, Main Attrakionz, Odd Future. Who are catching up with the development of music and the spin of the world better than anybody in the business. In fashion. Subject matter. In rap style. In graphic profile. In media presence. And most importantly in beats. They are that next step that the RZA saw but was unable to take successfully – from analog to digital.

Tapes by 22 year old Roach Gigz and 23 year old Wiz Khalifa feel like some of the year’s best.

Kush & OJ. A whole mixtape about weed smoke and orange juice. Cannabis usage is, as we all know, tricky subject matter. It turns easily into college, stoner jock, nerd shit. But if the production stays somewhere between Warren G’s first album and the already mentioned cloud rap names, we can all be safe. No mustard stains on these samples. The few failed tracks here channel indie pop/rock, but as song structure, not as sample material, which is unfortunate.

 THC-themed tracks can slap hard. Especially if in the same vein as Freddie Gibbs’ Higher Learning (Exhale). Not rambling about being confused and having the munchies and doing stupid shit, but about feeling good and growing, enjoying life, planning for the future, seeing things more clear than ever.

Higher Learning (Exhale)

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