Rap Up: New Music (2 Chainz, A$AP Rocky, Future, Gilbere Forte, Jeremih, Pusha T, Styles P, Wale & More)

by DG

We haven’t updated the blog very much this past week so the music below comes in abundance. Tony Romo getting injured really puts things in perspective… the Cowboys winning on Sunday is the most important thing in life right now.

Bei Maejor ft. Wale, Trey Songz, T-Pain & J.Cole – Trouble (Remix)

Chase N. Cashe – Bamboo (Prod. by The University)

David Banner ft. 2 Chainz & ASAP Rocky – Yao Ming

DJ Kay Slay ft. Ace Hood, Gunplay & Torch – Got Damn

Gilbere Forte – Sweet (Freestyle)

Jeremih – Mih Motto (The Motto Remix)

Jon Connor – One Of Those Nights

Layzie Bone – Somebody’s Watching Me

Naledge – Lotus Flower Bomb Freestyle

Prodigy – When U Up

Rocko ft. Future – Squares Out Your Circle

Rum ft. Pusha T – Aint None But Some Dope

Sir Michael Rocks & Sincere – Priceless

Styles P – Gift Wrapped

Styles P – Holiday

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New Music: Pusha T – Sweet Freestyle (Drake Diss)

by DG

I’m convinced Pusha is going at Drake. He has reference his music too many times. Hopefully Drizzy will fire back… hip-hop needs this.

Pusha T – Sweet Freestyle (Drake Diss)

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Music Video: Fred The Godson ft. Pusha T – Doves Fly

by DG

Fred The Godson has the dopest videos in the game. How he incorporates the storyline is reminiscent of Streets Is Watching.

Fred the Godson continues his winning streak with visuals from his latest single Doves fly off of his latest classic mixtape,City of God, hosted by DJ Drama. Watch Fred, Pusha T and a cast of others bring the song to life in this Paid In Full 2011 Remix directed by Taya Simmons.

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Rap Up: New Music (Big Sean, Fred The Godson, French Montana, Pusha T, Pill, Slim Thug & More)

by DG

So I haven’t listened to ANY of these songs but I did have a Wale type argument on twitter today. Some unknown/horrible/typical/local rapper used the “n-word” in a way that upset me (by the way he’s not of African decent), so I tried to tell him it’s not ok and sent him some literature suggestions but he decided to attack me. I still wish them success but we no longer will post their music. We didn’t fuck with them musically anyway…

Cory Mo ft. Khujo Goodie & Pill – Blow Yo Mind

Fred The Godson ft. Pusha T – Doves Fly

Raekwon ft. Capone-N-Noreaga – Chupacabra

Scram Jones ft. Alchemist – Collision Course

Slim Thug ft. Paul Wall & Bun B – Creepin

Cory Mo ft. Khujo Goodie & Pill – Blow Yo Mind

Tony Yayo ft. French Montana – Ballin

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Music Video: Pusha T – Tony Montana (Freestyle)

by J.Waves

Pusha T releases a visual to his track about moving that white girl with a beautiful white girl in the video. Ironic right?

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New Music: Pusha T ft. Diddy – Changing Of The Guards

by DG

Listening to this got me ready to book a flight to Arlington just to see if this what the Changing of the Guards feels like. Pusha’s Fear of God II: Let Us Pray drops in 6 days.

Pusha T ft. Diddy – Changing Of The Guards

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Rap Up: New Music (Beanie Sigel, Jim Jones, Jon Connor, Lloyd Banks, Pusha T & More)

by DG

Tip hops on his cousins record, Jim Jones & Maino make a track about someone I dislike at the moment, Pusha releases a verse & more.

BIGG Homie ft. Beanie Sigel – Still Got It

Consequence – OG Shot Caller

Jim Jones ft. Maino – So Athletic (Michael Vick)

Jon Connor – That’s What He Does

Lloyd Banks – We Fuckin (Radio Rip)

Pusha T – Peso Freestyle

Rich Kid Shawty ft. T.I – Wanna Win

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The Weekly Cinco: Cory Mo, DJ Premier, Pusha T, Wale & Young Chris

by DG

Shout to Gibson for holding it down last week with a good remix edition. There really wasn’t much this week that I could say I really liked besides the Nas joint with Dj Premier (now that was some good music). We did get the title track from Wale’s album dropping in a few days, some Pac Div and more. Hope you enjoy; let’s go…


1. Young Chris ft. Fred the God Son & Vado – Triple Threat
Was pretty impressed by all three of these artists, all of which went IN on this track. Sounds like a modified sample of the “Nas is coming” in the back round. Good beat could hear plenty layers of different sounds, produced very well. Overall good track. Got to love tracks that don’t need a Hook..


2. Cory Mo ft. Talib Kweli, Killer Mike & Mitchelle ‘I – Getting to the Money
The intro got me alone, hit play an i definitely didn’t expect this. For some reason was expecting something more relaxed an chill, this is the opposite. Good track really makes you wanna “Get to the Money”. Hearing Talib spit is always refreshing, recommend for sure..


3. Pusha T – What Dreams Are Made Of
Another dope track from a very dope artist, I wont hold my breath for the album to come out. However until then he’s at least dropping dope tracks like this one. Push T, no need to say much more. Listen to this Track..


4. Wale ft. Rick Ross, Meek Mill – Ambition
MMG Boys got a hold of another good beat/ track with this one. The hardest working group in hip hop as of late, releases the title track for Wale’s new album “Ambition”. Has a good hook, Meek did his thing on the track and Ross is well just another Ross verse huuhhhhhh. Good luck to Wale on his album, one of the dopest doing it..


5. DJ Premier ft. Nas & The Berklee Symphony Orchestra – Regeneration
Just an incredible fusion of music, something only the great Nasir Jones could do maybe a Jay-Z maybe. As my boy DG said in the blog Lil Wayne needs to get the I Am Music tattoo removed asap! This is real music, throw on some headphones an appreciate it.. Nas, Prem and a Symphony enough said!!


BONUS: Pac Div ft. Ashor Roth – Useless
Honestly I’ve been sleeping on the boys Div too long, that long nap as officially ended. Along with Ashor they murder this track…
WHHOOOAAAA!!!!!! Listen to the track an you’ll get it…


Well hope you enjoyed this weeks edition. I need to get back to my SportsCenter. I’m still trying to figure out how the Rangers managed lose last night; come on man!!! Hope ya’ll have a good Halloween, till next week…


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New Music: Pusha T – What Dreams Are Made Of

by DG

Pusha’s album needs to drop soon, but It won’t so until then…

Pusha T – What Dreams Are Made Of

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New Music: Pusha T – Ima Boss & Tony Montana Freestyles

by DG

So like every song since the Mister Cee debacle, this was premiered by Flex. One half of The Clipse drops a verse on both songs.

“See the signs, cut the nigga short, that’s cancer. Kill em’ then kiss his momma cheek, that’s manners.” – Pusha T

Pusha T – Ima Boss Freestyle

Pusha T – Tony Montana Freestyle

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Interview: Pusha T – The Tanning Of America

by DG

This is a good interview and if you happen to like it, I highly recommend that you go pick up Steve Stoute’s new book here.

The Tanning Of America touches on a concept called “The Thinnest Slice,” which is defined as “a person, object, or concept that is so authentic that it becomes popular because of this authentic truth.” Pusha T, who grew up in Norfolk, Virginia and came into the game as part of the critically-acclaimed duo Clipse, is a perfect example of this. The talented lyricist is known for intricate wordplay that stays rooted in drug dealer sensibilities and following the hustler’s ethos. However, through opportune circumstances such as growing up and working with The Neptunes, collaborating with Justin Timberlake, and most recently, signing with Kanye West’s G.O.O.D. Music, he has managed to reach a huge audience without compromising his gritty lyrical content. Given the unique space he occupies in music, we thought he would be a great person to talk to about race, politics, and how hip-hop culture has changed in the past decade. Pusha also speaks on how being on songs with Justin Timberlake changed his audience, his love for tennis, and the significance of Kanye West’s “30 white bitches” reference on “So Appalled.”

Interview By Brendan Klinkenberg

Have you had a specific tanning moment in your own career?
Yeah, totally. And it was so much of a shock. I can remember specifically, The Knitting Factory in New York City. We had dropped We Got It 4 Cheap Volume 2, I think it was.

We walked out to a sea of suburban white kids who had on everything I probably had on, or something close to it in terms of BAPE shoes, jeans, varsity jackets, and hoodies. It was totally a shock to me because, you have to remember, when I started off with records like “Grindin’,” I think I was in every black ghetto and performed for every black promoter in the United States for at least a year or nine months before the record even popped. These kids were not at my shows.

And then suddenly there was this huge shift?
Yeah. But I think the shift came along with the Internet and blog culture. Because the mixtapes were promoted and critically acclaimed through the Internet, more so than on the street corners or in the mom and pop record stores in the hood. It was more an Internet thing, and I think that gave everyone access to the music we were making.

I came up in the mixtape culture. What I had to do back then was drive to Norfolk State University, which is dead smack in the middle of urban Norfolk, Virginia. Right in the middle of the weed spots. Suburban kids weren’t going there to get that music.

Does it ever throw you off or bother you at all to see an all-white crowd?
No, man. It’s actually a good thing. I love it. I love how it diversifies everything. I love going to my shows and seeing some of everybody at my shows. It makes for a bigger reaction once the show is over. All those kids hit the streets, and they’re all screaming the same thing, but they’re all screaming it in their respective areas. Some kids are going back to the hood, back to high school in the suburbs, and some kids are going to college. Some kids are going to black college, some to white college. I perform everywhere. I perform at all types of colleges.

I actually saw you at Northwestern University last year.
Yeah man, come on. This music isn’t just for black colleges or anything, it’s for everybody.

The reason I asked was because your music deals extensively with poverty and drug dealing. Do you ever want your audience to be able to relate to that more? Or is just respecting the music good enough?
Just respect it. This music, it deals with that, but this is still rap. And there is a whole creative and intellectual side to it, if you ask me. I think that the metaphors and some of the similes and everything, the punchlines; they deal with the streets, but the parallels that draw people to myself and the Clipse, sometimes they come out of left field.

Coming from Virginia, does the racial make-up of the crowds in the South differ from other places?
No. When I’m in the South, like when I perform in Atlanta, the demographic is still the same. There’s a lot that goes into my demographic. It’s part ‘hood, part blog/net-savvy white kids. But then you have the whole streetwear culture—and that’s some of everybody at this point. Everybody wants to put on a fly sneaker. It’s so much so, that also mixes my crowd a lot.

The music pulls from so many different people. In the crowd, there’s definitely that hipster kid and there’s definitely that hustler. It’s just there, and they all come out regardless of where I show up at.

After traveling the world and performing on an international platform, how does being raised in Virginia affect how you see the world?
Wow. I love that I’m really open to all types of different cultures. And I think that has a lot to do with Virginia. Being here is a real melting pot, and especially the area that I’m from. This is a military area, and we have the largest naval base in the U.S. So when you think about it musically, there’s not one thing that I haven’t been exposed to.

Honestly, I always was hip to what was going on in San Francisco, the Texas movement, Master P, and Wu-Tang. I was always hip to everything because this place was such a melting pot. Virginia brings so many cultures here. Internationally as well.

You’ve been working with Pharrell for almost your whole career now, and he seems like someone who has a wide range of influences. Did he make you more open-minded?
Yeah, man. Pharrell and Chad have always been risk takers. Sonically, there was no format or formula to the sounds that they would use or put in these tracks. They would use anything. And in all honesty, it helped me a lot. It helped me to be more open-minded, musically. I’m a rapper. And I tell everybody this. I’m a rapper, but I’m a rapper at heart. I’m not the best A&R. I’m not the best beat-picker. If I like the beat halfway, I can write something all the way beautiful to it. That’s just it.

You’ve been a major figure in hip-hop for a long time now. How would you say the culture has changed in the last decade?
I would say that the biggest change, honestly, is the rate at which people want music. People don’t live with music anymore. They anticipate it, they fiend for it. Then they get it and it’s over, they’re looking for the next new thing.

I remember waiting for the new Outkast albums. They were coming like every two years? You have other artists now that are coming out in the 2000s, and after 2005 these guys are dropping an album every year. And you have to do it. And if you don’t then you have to have that level of music that keeps you relevant. That’s the biggest change. The amount of music that people want and need, and how you have to play that game to stay relevant. People take a lot of quantity over quality to me.

 Hip-hop seems to have become a lot more accepting of new people and trends—would you agree?
Yeah, all we need is the story. The funny thing about hip-hop right now is that it’s one big cycle. You can see everything going back to the independent stories. When I was first getting into hip-hop, you had the Bad Boy era. But then you had the Tony Draper’s, the Cash Money’s, the Master P’s, the Hypnotize Minds. The indie story that made you want to love that as well.

And now I’m watching it happen on another whole level, with the Odd Futures, the Kreayshawns, and the ASAP Rockys. And these people are creating their own following, and bringing that following into the game. I’m watching it happen all over again, just in a different way.

Back then, those guys were using their street money and acting as a label. Right now, the outlets are so vast. You don’t have to have a dollar, but if you have a strong Internet following you’re going to have a check written to you for a million dollars from these labels.

A lot of artists have been crossing genres like Drake or even Kanye, how do you feel about that?
I think that just comes along with hip-hop being so international. It crosses so many boundaries and so many lines. When you can incorporate dubstep into your hip-hop record—and that’s the big thing going on in London—it’s almost guaranteed success.

What do you listen to outside of hip-hop?
I’m into reggae, R&B, rock. When rock was good to me—haven’t heard good rock in a minute. The good grunge, the early days: the Nirvana’s, the Pearl Jam’s, that’s what’s really good to me.

Once you did the feature on Justin Timberlake’s “Like I Love You,” did you start noticing that more white teenagers, girls, etc. started knowing who you are?
Yeah, man, I honestly did. I just noticed how that level of visibility really took us to a new height. I think after that I did McDonald’s “I’m Lovin’ It” campaign [with Justin]. A lot came from the whole Justin thing. As well as just opening his fanbase up to what we were doing.

Pharrell and Chad were doing the Clipse on the street level, Mystikal, who was doing like two million records, Justin, Britney, and Noreaga… There were so many different places, production-wise, that when we came to work with Justin, die-hard fans of Justin had to know who these guys on his record were. And then once they heard the record and could say, “Oh, that’s that record! Those are the guys that are hot right now!” And “Grindin’” had been a top ten record for us. So this just really connected the dots for us.

How did the McDonald’s campaign come about?
I think, just to put it in a nutshell, I think the timing was just perfect for myself, Justin, and McDonald’s. McDonald’s was clearly trying to do a hip-hop-infused campaign. And being that we had just did the “Like I Love You” single and Justin was stepping out on his solo venture from this major pop band, and put these rappers on his song, I think it just made perfect sense for them.

Justin was also in the campaign as well. We had rap verses that we wrote, and he wasn’t even on that. But I feel like it was just perfect. And Justin being a part of the campaign, it would ease the hip-hop side of things a little bit. It was safe, because Justin was co-signing hip-hop too. Everything was just really perfect at that moment.

What was it like writing raps to something corporate and maybe separate from the music?
For me, I thought it was cool. The thing about it is, I like the fact that we were doing it, because hip-hop gets so pigeonholed. And all our music is really street, but I thought that it was really good that someone would even give us an opportunity to do something like this with the musical background that we had.

I just thought it was dope that something so corporate was even venturing into hip-hop so deep. They could have easily got the “Young MC” rapper of the time. You know what I’m saying? But they came straight to the grit and the grime and the lyricism and they were very driven. They came straight to that aesthetic of hip-hop. They came straight there, to the real, and got it done. That in itself, I was really happy about it.

What was it like working with Justin? Did he seem like someone who knew his stuff rap-wise?
He knew his stuff. He loved the Clipse record. And it didn’t have anything to do with us and the friend factor. It was like, “Wow, you guys did that joint!” He was beatboxing it and telling us how crazy it was and how he loved the record.

Favorite musical mash-up of all-time?
Oh, man. I don’t know the specific song or collaboration, but Public Enemy definitely went rock and incorporated rock sounds and styles into their music. Maybe with Rage Against The Machine, once. But their chaos and rebelliousness had a rock feel mixed into it, and that shit always worked really well to me.

I heard you’re a huge tennis fan. How did you get into that?
You know what? For whatever reason, it was always interesting to watch. I always looked at that shit as combat. I’ve really been watching forever. I’m really a huge tennis fan.

That’s really interesting. I actually played in high school, and I was always the only black kid on the courts.
[Laughs.] Yeah, it’s just an amazing sport. I actually just left the U.S. Open.

Do you play tennis yourself?
No, man. I’m not any type of good.

Did you get into it as a kid? Or was it later?
As a kid. Totally. Every game system I had, I had tennis for it. Nintendo, I had it.

I feel like people would be surprised to hear that Pusha T is into tennis.
They always are when I’m watching it or Tweeting about what’s going on. The Open really sucked for me. Serena lost and Nadal lost. I’m like, “What the fuck?” Nadal, not only did he lose, but he got destroyed.

It’s just Djokovic, man. He’s good.
The funny thing about it is that the only reason people didn’t kill me is because, for the past two years, I’ve been saying that he’s the only one who scares me. Djokovic is the only one. I wasn’t scared of Federer, or anybody. And he really showed improvement. He really came out there. He’s really awesome.

He’s the only person that can beat Nadal, consistently.
Yeah. I don’t like that. He wins so decisively. You know how someone has your number? I feel like he just has Nadal’s number. That’s going to be the one, that if Nadal has to play him, he’s going to lose to him. And I don’t like that. [Laughs.]

How has working with Kanye influenced your audience?
His audience is so huge. I haven’t put out a release or anything under the G.O.O.D. Music umbrella, or anything that I can say is solely attributed to it. But I’m talking about going overseas and being able to perform in front of 60,000 to 100,000 people. Just me coming out on stage for “Runaway” is amazing. Everybody is going nuts. Everybody is rapping word for word. And I’m like, “Wow. Wait a minute.” It’s so incredible.

How has he influenced who you collaborate with? He works a lot with people outside of hip-hop culture including recently getting Riccardo Tisci to design the cover for Watch The Throne.
Yeah. I would just say that he’s a perfectionist, and it’s on another level. He just showed me a whole different way of working. There’s so many times when I’ve thought that the music was at its height, and I come back in the studio and it’s been redone, and it’s better than what I heard before. And I have to say, “Damn. What made you hear it that way?”

And he’s always getting me to honestly look at everything as unfinished. Look at the verse as unfinished. Until you really, really feel it. And that’s something that I’ve never done. Because even if I love the verse, and feel it’s lacking somewhere I always have a partner to come in and fix it up. His will be as good or better. But you cannot be lazy with Kanye. You cannot.

A line I wanted to ask you about was the “30 white bitches” reference in the chorus of “So Appalled.” What was the significance of them being white in the line?
The thing is, and I hate to ever speak for him because I don’t know where his mind was when he wrote that, but I could honestly say that he is so pro-black, that I’m pretty sure he loves the dichotomy of it. I think he knows that people like me see him as really pro-black, and he would say with me looking at him in a certain light, and other people looking at him in a certain light, and him saying that there’s 30 white bitches in his presence, by his choice—he loves the opposites, and how people see him versus what he would say. That’s probably why it’s so powerful and why it means anything. ‘Cause if it was Lenny Kravitz saying it, you wouldn’t care.

Would you personally date outside your race? If you’re bringing home a girl you’re planning to marry, would your parents care if she was white or Asian or whatever?
No, my parents wouldn’t care. Or, let me say this: they wouldn’t openly care. My parents are older, I don’t think they’d really care. They would only care about my happiness.

Who has been your favorite artist or artists to collaborate with in your career? Do you have one?
Man, the most fun I have, honestly, is making street music, freestyles, and mixtapes. So, with that being said, it’s a Re-Up Gang thing for me. Me, my brother, and Liva. The We Got It 4 Cheap series is just as important, and any of the Re-Up Gang material, as any full-length album the Clipse has put out. Or anything I choose to put out as a solo artist.

How did you reach out to Kaws to do your album cover for Til The Casket Drops? What made you comfortable and want to reach out to an artist like him?
Ah, man. I found out Kaws had an iPod full of Clipse music! I was like, “What?! I have a closet full of Original Fake!” And ever since then we have been kicking it. You can definitely find me in Brooklyn, checking him out at his workplace.

Anyone else on your list to work with, outside of hip-hop, that you haven’t already collaborated with?
Outside of hip-hop? Yo, I would love to get Adele to sing a hook for me. Her music is so strong, man. I haven’t heard that strong of emotion in a song since… I don’t even know what to reference back to. It’s like a whole other level of passion.

What do you think of Jay-Z’s statement that “Hip-hop has done more than any leader, politician, or anyone to improve race relations.”
That is so true. That’s probably one of his truest statements. Ridiculously true.

Have you noticed any instances of tanning coming directly through hip-hop?
Listen, in all honesty, there’s no better gauge of something like that than at a Jay-Z show. There is absolutely no crowd that is more diverse than that. And I’m talking race, age, and people who just have very different musical influences. There’s no crowd more diverse than that, if you ask me.

A recent Gallup/USA Today poll found that many Americans feel that Martin Luther King’s dream of racial equity has been achieved. What do you think?
Ah, boy. I would say that some aspects of what he wanted to happen, have happened. And I would say that America is definitely a much better place than it was. But I do feel like there’s just some things you can’t put a blanket on and say we fixed racial equality in America. I don’t know if it will ever be like that because it’s so individual-based. It depends on who that individual is, and who’s in that position of power. You can’t really say that. But we’ve definitely come a long way. We’ve definitely reached some of the aspects that Martin Luther King wanted to achieve. I think it’s a work in progress, every day.

I’ve heard that when Obama was elected, a lot of teenagers and those younger, didn’t see his win as a big deal like older people did. They just figured the best candidate would get the job regardless of race. Do you think that’s a sign of progress?
Yeah, totally. And I think that’s cool, and I don’t know if it goes with the saying, “Ignorance is bliss.” How could you not understand the importance of it? If you don’t know the importance of it, can you really know where we’ve come from as a nation?  You need to know where we’ve come from to really, really appreciate it. It’s definitely a big deal.

So what’s coming up next for you and your career? You’ve got the album coming out, and the Def Jam deal?
Yeah, man. Just signed the Def Jam deal, and we’re dropping the Fear of God 2 EP. Also got the full length album coming out on G.O.O.D./Def Jam Music. And in the meantime, I’m just going to work on that album and put out music for the streets. That’s it. That’s my focus. It’s so funny you asked, I just got off a phone call with people trying to book me for shows, and I was like, “Nah, I’ll pass.” I’ll really pass, because I really need the time to feed and service the streets. Can’t keep servicing them with old music. Then I can go back out.

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The Weekly Cinco: 50 Cent, 9th Wonder, Gilbere Forte, Phonte & Pusha T

by DG


What a great week in music! Cole dropped, 9th Wonder dropped and the boy DG got me on Phonte’s new album, so you can blame my laziness on those releases. I didn’t pay much attention to any other music but I still have 5. I could easily choose them all from Cole’s album but I’m keeping him out of it this week.  It’s going be a fast one because I have to get back to Phonte… let’s go.

1. Gilbere Forte ft Big K.R.I.T- Black Soul

Gilbere is a beast and will be a star. Krit is on a mission to bring southern music back to the game. Put these two together and you get a good song with that country black soul feel.


2.50 cent- Love, Hate, Love
Fifty is back!!! …well at least the bully of hip-hop is back; not one of the best songs 50 ever made. Actually just an average 50 track, but still a must listen too for the week. The reason being; the shots hes giving – including at Weezy F Baby (F is for Fifty dissed me) and the women’s pants he be rocking. Its bout time someone did!


3. 9th Wonder feat. Warren G, Murs & Kendrick Lamar- Enjoy
I heard this song just minutes after I made last weeks edition so it had already been signed, sealed an delivered. It was too late then so here it is now. Good riding music – including 9th wonder, Warren G (that’s right Warren G) and the young spitta Lamar. As the name of the track says… sit back and ENJOY.


4. Pusha T- Dont Fuck With Me
One of my favorite artist who is signed to one of my favorite artist (isn’t it ironic?). Pusha is a monster; straight kills Aubrey’s song. Sounds like it’s a diss song but I don’t exactly know who it’s directed to. Rumors say he’s taking shots at Drizzy but I’m not here to speculate or start rumors. So to whomever it to, I’m sorry. I wouldn’t mess with Pusha… 10/15/2011. G.O.O.D Music


5. Phonte- Charity Stars at Home the whole album
Still finishing the album as I type, so didn’t think it was fair for me to just choose one track without finishing the album at least three times over. Very soulful beats on a well put together album. I would like to give my boy DG some props for putting me on it. Without it, I’d still be listening to Cole World and wouldn’t have reviewed this Phonte for another two weeks. This album should definitely get some spin in your playlist. Listen….


Well that’s it… I have to get back to my Zen green tea an this Charity Stars.. Keep it Moving.
Till Next week. D-Lop


DG’s Extra: Childish Gambino – Bonfire

You may recognize him from playing Troy on the NBC sitcom, Community. He might be a comedian but when it comes to these raps, Gambino ain’t playing. I would describe as being a punch-line rapper but his bars are heavy. If you’re a fan of the ‘pre-gutair Wayne’ I suggest you give this a spin.

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New Music: Pusha T ft. Juicy J, Meek Mill & French Montana – Body Work

by DG

Pusha T ft. Juicy J, Meek Mill & French Montana – Body Work

Yup… this will be my ignorant anthem for the week. If you feel like acting like your gonna hurt someone by bouncing around shaking your fake dreads and throwing up gang signs that mean absolutely nothing then this is for you.

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Rap Up: New Music (AZ, DJ Drama, Musiq Soulchild, Pusha T & More)

by DG

Some more new music for your Monday afternoon. It’s always good to get some material from Musiq. AZ and Cormega on the same track again too. Enjoy.

Cappadonna – Cuban Link Kings

Cormega ft. AZ & Nature – VI (Professional Style)

DJ Drama ft. Pusha T & French Montana – Everything That Glitters (Radio Rip)

Musiq Soulchild – Run & Hide (prod. Dre & Vidal)

Pixi Lott ft. Pusha T – What Do You Take Me For (Radio Rip)

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