By DJ Fusion

This week’s show commentary focused on the recent settlement between New York City and the Sean Bell Estate & others from the major police brutality issue a few years ago (where no wrongdoing was admitted by the city), the Wikileaks document controversy of classified documents from the War in Afghanistan, media outlet UniVision getting caught up in a payola scandal, the New York Times expose about the disparity between marijuana arrests based on class & race along with some other things here and there.

Player (via Podomatic feed): 

Powered by Podbean.com 

Backup Player (via Blip.TV feed): 

Powered by Podbean.com 

Direct mp3 Download (right click and “save as”)
Direct mp3 Download Backup (right click and “save as”; via Blip.TV) 

Current FuseBox Radio Broadcast Radio & Internet Affiliates (as of this week): 

UrbanNetwork.com’s The Mix Internet Radio Station – UN Power Jam Radio (owned by Urban Network Magazine) OKRP.com, ReeWineMusic.com/ReeWine Radio, Progressive Blend Radio, Sprint Radio Extra/mSpot (via the Worldwide Alpha Communications Network), SouthBound.FM, DeadBeat Radio, CrackAudio.com, TheBestJams.com/The Best Jams Radio, Radio CPR 97.5 FM, FlyTunes.FM/FlyCast ,Planet Urban (Austrailia)/PlanetUrban.com.au, AmalgamDigital.com, BlockJams.com, ConspiracyUK.com , FONYE Radio , VI Radio , DurdeeSouthRadio.com , Beyond.FM , MyBlockRadio.net, Rutgers University Radio, WRSU 88.7 FM, Stop Beefin’ Start Eatin’ Radio, Ceesiety Radio, Mixshow Blast Radio, Slip-N-Slide DJs Podcast, The Best Jams, ExtravaGangsta Radio, HipHopSoulRadio.com , Digiwaxx Presents: The Blast , White Folks Get Crunk for DJs, Legion Music & Media, UnderWorldMixRadio.com, MixLaWax Radio, Trunk Hustlers Online, 907 Jamz. The6.FM, Nilo Radio, 1.FM Jamz, Blayze University Radio, Blip.TV, iBlog126.com, Miro, WSOUF.com, True Fire Radio, StreetsD.com (Streets Mos Magazine Radio), Rock The Dub, Last Word Online, Soul Pitch Hustle, Black Soul Rhythms, Honey Magazine, i95.FM, The PRess Junkie, Planet Ill, Ground Up Radio, W.O.W. Radio, DIRadioCast, Fleet DJ Radio, SWURV Radio, Revolt Radio, GC Radio, BlackCoffeeChannel.com (Coming Soon), Gutta Muzik (HD) Radio (Coming Soon)

Subscribe to get the weekly episodes of the syndicated FuseBox Radio Broadcast with DJ Fusion & Jon Judah! 

XML 

Get RSS Buttons

Tanya Morgan is not a group that rests on their ass. After dropping the critically acclaimed Brooklynati album last year, they’ve dropped multiple mixtapes, both as a unit and as soloists and partners with other acts. Their most recent work, The Sandwich Shop dropped to critical acclaim and member Donwill’s solo album Don Cusack In High Fidelity pushed limits as a concept album and was well received.

In celebration of achievement and preparation for Von Pea’s upcoming solo work Pea’s Gotta Have It and their group project they are hitting the road, doing shows all across the country. Opening for them is Ohio band The Kickdrums.

It was a hot, muggy night in New York and thankfully Mercury Lounge was air-conditioned. Opening act, The Kickdrums, were a talented band, their music a bit reliant on 80s sensibilities and you can recognize certain riffs and feel in their music.  The lead vocalist was a charmingly corny but it worked for the band’s feel.  They did a laudable job maintaining the audience’s attention throughout their set, the highlight of which was a track featuring MC Daytona.

The headliners took the stage, sans third member Ilyas and a DJ, but managed to get through a medley of their biggest songs without a hitch. Tracks like”Bang Bang Boogie” “So Damn Down” and the parody track “Hardcore Gentlemen”   got significant rises from the crowd. Donwill did an abbreviated set of a couple songs from his solo and Pea blessed the audience with a preview of work from his coming album. Che Grand guest performed with the group as well. They also gave an R.I.P. to Guru and a “fuck you” to Solar.

In all, it was a tight, compact show without pyrotechnics but also without late divas, a dozen pointless drunken people on stage, and forgotten lyrics. It was two rappers doing what they loved and not forcing the fans to sing half their lyrics, and mumble-mouthed hype men straight from jail. If Tanya Morgan comes to your town, you should definitely check them out.

Follow Us on Twitter @ http://twitter.com/planetill

Follow Odeisel on Twitter @ http://twitter.com/odeisel

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs

By shelz.

Linkin Park will be dropping their fourth studio album, A Thousand Suns, in September after a three year break to the infinite delight of their angst-ridden teen fan base.  The album will feature the production prowess of both Mike Shinoda and the honorable Rick Rubin, but if you’re expecting Minutes to Midnight the Remix, you may just get your feelings hurt.  That’s if “The Catalyst” is an indication of what the rest of the album will be.

Well it might not be.  A Thousand Suns is sharing this song with EA’s Medal of Honor and the song leans more towards the games aesthetic than that of the band.

There is a stadium chant intro that brings the concept to the front early.

God bless us everyone/We’re a broken people living under loaded gun/And it can’t be outfought
And it can’t be outdone/It can’t out matched/It can’t be outrun

The piano is introduced to the stomp and chant fest, then the synth.  The digital addition adds fluidity and confirms the war-like nature of the song as Shinoda sings of memories in cold decay and oceans that bleed into the sky.  Even with those lyrics though, it’s hard to reconcile Linkin Park with blood and guts video game gore.  The song seems a bit out of place for the band.  It also seems a bit soft core for the game.  But what do I know; I haven’t picked up a controller since Mario Brothers.

Also, there is a remix contest going on right now with this song so the final cut may be different, but I’m pretty sure this is the core of whatever will be the final product.

There are no guitars here and that’s not alien to Cali’s favorite alt rockers, but that’s more the exception than the rule for them.  Hopefully A Thousand Suns will continue that tradition.  Linkin Park all electronic everything for an entire album just doesn’t sound like a good idea.

Linkin Park – “The Catalyst”

Linkin_Park_-_The_Catalyst(2)

And here is the trailer to the new Medal of Honor, just in case you were interested.

Follow shelz. on Twitter @ http://twitter.com/shelzp

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs

By shelz.

It hasn’t been wine and roses for Jermaine Dupri recently.  Dondria’s album is in the pipeline but folks are trying to dismiss it before it hits the shelves.  Then there is the alleged split with Janet Jackson and the horrifying back and forth going on between him and the blogger he allegedly offered to have his goons visit.  It’s just all so disheartening for a guy who used to be not just a major player in Atlanta, but all over the globe. Funny how fast things change.

However, JD is still making a go of it.  Most recently, with a single he kicked out into the Twitter cosmos called “I Heard Um Say.”

What we have here is some White Stripes with a bit of urban aesthetic sprinkled on top. Jack White’s baseline is the core. Then there is the chorus of “ohhs” that mimic the bassline spread on top.  A drum and a tambourine are incorporated and umm… that’s it.

JD spits over the simple sonic concoction, shouting out So So Def and going on with some questionable conceit and plenty of rich nucca shit thrown in for good measure.  He has love for the strippers and dudes with drop tops and he needs all of them to report to the dance floor. So as you can see the concept of simple flows from the production to the lyrics. It’s a club jam though, so no need for complications.

It’s not great.  We’ve heard much better from JD, but after 10 bottles of Rozay, you’ll be able to live with it.  I’m sure.

Jermaine Dupri – “I Heard Um Say”

JERMAINE DUPRI- I Heard Them Say CLEAN T.M

Follow shelz. on Twitter @ http://twitter.com/shelzp

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs

A change of major proportions is sweeping through Gotham’s underworld.  A shady figure known as The Red Hood (Jensen Ackles) has decided to unite and organize the city’s various dealers under his rule.  His violent campaign threatens the livelihood of the Black Mask, Gotham’s first true crime boss in decades.

Black Mask eventually enlists the help of the Joker (John Dimaggio) to maintain his rule.  Batman (Bruce Greenwood) immediately springs into action to prevent the war that will surely result.  While hot on the Red Hood’s trail, Batman realizes that he may be linked to him in a most unexpected and tragic way.

Batman: Under the Red Hood is the eighth straight to DVD feature from the DC Animated Universe.  It adapts two well known storylines from the comics: the controversial “Death in the Family” and the more recent “Under the Hood”. These two story arcs are combined into grim narrative that will definitely satisfy those who prefer the darkest possible iteration of the character.

The visual palette of Batman: Under the Red Hood stays true to the aesthetic established in earlier Bruce Timm productions.  Gotham city is almost never seen in daylight, and the mood is very reminiscent of the classic Warner Brothers gangster films of the 30’s.  The villains inhabit secret meeting places, while Batman patrols the rooftops, ledges and alley ways.  It is not a total facsimile of Batman: The Animated Series, but it is shrouded in a similar mood.

Fight scenes are always a centerpiece of DC Animated Universe productions, and Batman: Under The Red Hood is no exception.  Director Brandon Vietti ups the ante in terms of brutality, offering fight scenes that will have viewers wincing in pain as Batman inflicts serious injury on his opponents.  The level of ferocity is enhanced by the quick cuts and unusual angles.  Though occasionally bloody, none of it is truly gruesome and is done in the style of adventure serial.

The story wallows in the darkest of themes and emotions, offering a Batman that is perpetually grim and racked with guilt; carrying his past sins like baggage.  It also takes a decidedly less light hearted view of Batman’s partnerships with those who have fought alongside him as Robin.  The concept of child endangerment is never spelled out in the dialogue, but it lurks just beneath the surface.  The villains go to greater lengths than we are used to seeing in American animation, administering severe beatings among other acts of terrorism.

Anyone who voices the caped crusader will be standing in the shadow of Kevin Conroy due to his legendary work on Batman: The Animated series.  Perhaps realizing this, Bruce Greenwood opts to get in the good graces of fans by imitating Conroy’s vocal inflections.  His decision is a good one, and helps to maintain a continuity of sorts with past DCAU productions.  Neil Patrick Harris is somewhat inconsequential as Nightwing.  John Dimaggio leaves a lasting impression with relatively little screen time.  His characterization of the Joker owes much to Heath Ledger.

Batman: Under the Red Hood is the most intense DC Animated original movie yet.  It’s every bit as dark and unrelenting as its recent live action counterparts.  Those who enjoyed both Batman Begins and The Dark Knight will feel right at home here.  It’s the perfect combination of substance and style, showing that animation is just as viable a form of storytelling as any other medium.

4.25 Out of 5

Follow Malice Intended on Twitter @ http://twitter.com/renaissance1977

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blog

By shelz.

Cube is still plunking along after a couple of push backs and I Am the West will land squarely on September 24^th.  At least that’s where it sits right now.  While we wait though, the left coast chief has tossed a little something to the fans to heighten the expectation and that something is “Drink the Kool-Aid.”

He’s as brash as pioneers come and when he extends his hand to introduce himself, know who you’re fucking with.  He’s the Hop-Hop rock of Gibraltar, he who can turn you from boy to girl in one bar.  He isn’t Jay or Frank.  He comes with bars for days and deserves you reverence.   Still don’t get it?

Think Reverend Jim Jones. Yes, THAT Kool-Aid.  It’s just a suggestion, but understand that once you step up to the rap altar you step into your own rap slaughter.  Cube is not playing with you.

The lyrics are heavy on hubris and splayed all over a horn and guitar driven track that’s reminiscent of WAR around the The World is a Ghetto days.  The pulsing synth line fills in the spots between the drum beat and the chorus comes complete wails of unlucky emcees who took a sip.

The track is good but it’s missing something.  Cubes flow hovers to the left of center, maybe a few clicks behind.  That works sometimes, but unfortunately not here.  Still better than much of what I heard this week. Did I hear a diss or two in there?  Not really, but choose your plastic cup carefully. Just in case I’m wrong.

Ice Cube – “Drink the Kool-Aid”

Ice Cube – Drink The Kool-Aid

Follow shelz. on Twitter @ http://twitter.com/shelzp

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs

By T. Love

The Jay-Z versus Nas beef was one of the more memorable head-to-head matchups Hip-Hop has ever had.  Words were exchanged, feelings were caught, and people rallied behind their pick of choice like Republicans and Democrats.  Jay-Z fired the first salvo with “Takeover”.  Nas responded with the titanium-melting “Ether”.  Regardless of which side you chose, both cuts were Hip-Hop at its finest and reminded heads that you can’t just claim to be the illest rapper, you have to prove it.

Imagine if, after Kobe had dropped 81 on the Raptors, he changed his jersey number to 81 or insisted on being referred to as “Mr. 81?” What if Kanye West decided to be called “Takeover Man?”  Ron Browz, aka “Ether Boy” has taken the proverbial dead horse and beaten it into a gelatinous pulp.  So much so that he has named his new debut album Etherlibrium .

His track record outside of that song is stellar and he should feel secure enough to not concoct an alias so connected to past glory.  More recently, Browz has produced hits for 50 Cent, Ludacris, Snoop Dogg, and Busta Rhymes, including Busta’s gleefully ignorant “Arab Money.”

Ron Browz doesn’t bring this hit-making power to Etherlibrium, choosing instead to prove that he can hold his own as a rapper, similar to Kanye West.  He indulges in his own aesthetic sensibilities and crafts an album that falls far short of his previous work.   While he jumped on the autotune bandwagon with everybody else, it’s conspicuously absent from Etherlibrium, forcing Browz to stand alone, often to disastrous effect.

As with most producers who have put down the MPC and picked up a mic, Browz is far from a beast and barely serviceable with a pen and pad.  The “Etherlibrium Intro” featuring Oshy is indicative of what type of lyrical journey he’s going to take you on.  The beat snatches keyboard synths from what sounds like the end credits of an 80s action movie with alternating bass kicks and snares.

“Rap niggas is poison/ promise when I got on I’ma  bring my boys in/ Harlem in garage, I’m bringing the toys in/ it’s music now, parents hold the noise in/ dope fiends used to shoot up by my/ ya’ll niggas flows is sloppy/it’s my block, you land on monopoly/used to meet papi at beef and broccoli’s”

Most real rappers can freestyle better than that on their worst day. The only thing that might decent about Etherlibrium is the beats and stating that is a stretch.

“Don’t Breathe It” is far and away the best song on the album. First, the lyrics are halfway decent and don’t ruin the song.  Secondly, the beat knocks powerfully and the only way your head won’t be nodding is if you suffer from a Stephen Hawking-type malady. Off kilter, barely on beat, thumping drums form the foundation, complemented by high hats and horns that come on strong but decrease through some kind of fader effect.  This is the closest Ron Browz gets to blacking out on a track.

“N****s used to be hot/ now I’m in the game and I’m taking they spot/if they like it or not/that every song I’m on, 50 grand a pop/came a long way from moving tan a lot/n****s never need you/you life unbalanced like an orthopedic shoe/sucks to be you”

You can’t help but think Jada or Cam would have murdered that joint.

In a strange twist, Ron Browz lifts Nas’ beat for halftime completely and decides to spit his own street knowledge.  He tries out the same kind of alternate personality gimmick to help the dialogue along that DMX did for “Damien” and Eminem did for “Guilty Conscience.”  It doesn’t work.

“I Swear” and “Wanna Be You” are horrible songs, namely because Ron Browz sings his own hooks.  The result is almost laughable.

What most producers do when they release albums is assemble high-powered guests to rhyme on their albums, allowing them to focus on what they do best. Even Kanye West has enough guests on his album so that he doesn’t have to do all of the heavy lifting.  If Browz went that route instead of trying to prove how legitimate he is as an artist, maybe Etherlibrium would have turned out better.

out of 5

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs

By shelz.

We spend most of our childhoods yearning for the freedom, independence and late nights of adulthood, and the novelty of being your own chaperon does produce some pleasurable moments initially. Then comes that grand epiphany; the moment when we realize being a grown-up isn’t exactly what we thought it would be and our youth looks a little different in retrospect.

For the lucky few or the less thoughtful, that backwards glance is short and sweet.  Moving on with modest resistance from the past makes that entrance into the future easy. For others, whose steely grip on the past is harder to break,  the transition from adolescent to adult is a bleak movement into change that they don’t want.

Arcade Fire’s The Suburbs analyzes this march with a melancholic splendor that is both heart-wrenching and exuberant.  It is also the perfect step away from the angry manifesto that was Neon Bible.

With three years to conceive and create, the inspired collective obviously made use of the time and even with 16 cuts, there is no filler.  Some songs pour into each other, creating an ongoing narrative by maintaining a single idea that’s been halved. The last song mirrors the first.  The album holds tight to its concept and traverses it  like Byrd at the frame of the Antarctic.

The lead and title track sets the tone, with its bewilderment and grief set to a homey piano that tangles with a cheerless guitar, a weeping synth and Butler’s stoic exclamation that he’s getting over the loss of his formative years better than he should be. “Ready to Start” is an exercise in a more mainstream sound.  It gives definite nods to 80’s pop, yet remains modern as Butler examines the fear of standing above the sheep.  It’s the first baby step from the shade of the fearful to the blazing sun of being true to yourself. Wonderful.

The Suburbs surveys the idea of feeling out of place in the rank and file of society in “Modern Man.”  Its open and sparse construction allows the lyrics to stand front and center. “Rococo” cozies up to misunderstood youth culture while giving a burst of sonic density. Dark and frenzied string structures play background to the “Rococo” coo’s and a guitar that moves from minimal effect to maximum demand.

The band waxes nostalgic on “Half Light 1” about dusk and that magical swatch of time between the flickering on of the street lamp and mom hitting the door to unceremoniously and loudly invite you back into the house before the belt comes out of the closet. The 50’s inspired progression and child-like vocal delivery add to the wistfulness of it all. “Half Light 2” is a darker breed of the same idea, but time has passed.  The magic is gone and recapturing that time is impossible. Dusk provides just enough light to note the change for the worse.

Losing connections that once seemed so important is the theme that drives “Suburban War.” The crew appears to take a swipe at their fans in “Month of May,” a punk oriented piece that sounds too much like Wang Chung’s “Fire in the Twilight” in the beginning. “Sprawl” 1 and 2 are the most glum of the tracks; too much so.  The dirge-like pieces will take the wind out of your sails.  Govern your listening habits accordingly. The close, an orchestral adaptation of the title track is that final look back; the one that makes it okay to look forward. “If I could have it back, all the time we wasted, I’d only waste it again. If I could have it back, I’d love to waste it again and again and again.” It’s moving and for most of us, so very true.

The Suburbs is a poignant, convoluted trip down a memory lane that is quickly becoming hazy with more lure filtering in than truth. Arcade Fire manages this journey with a different set of inspirations than in previous works, but the changes are for the better.  Win Butler and crew may not have enjoyed facing all the memories  that drove this album and the outcomes may not have been what they wanted, but it was still awesome taking that trip with them.

4.25 Out of 5

Follow shelz. on Twitter @ http://twitter.com/shelzp

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs

By Odeisel

I always thought of Dru Hill as a low budget Jodeci, or at least Jodeci with silly antics.  Despite that, I had to acknowledge that they had quite the run and did a respectable job of filling that void left by the departure of Boys II Men and Jodeci, far better and longer than peers 112, Jagged Edge and the rest of those mid 90s groups. One thing about them that couldn’t be denied was their talent. Their songs were well-arranged, they could all sing, and they knew music. I’m still a bit miffed at the notable lack of thongs in the “Thong Song” video, but I digress.

The group is still around, presently starring on Centric Network’s show Keith Sweat’s (former mentor of the group) “Platinum House” reality show and poised to drop their latest album InDrupendence Day with new member Tao in tow. Last night, Centric hosted a LiveStream web conference where fans were able to ask questions (sorted by a moderator) to the group.

They showed a lot more heart, humor and integrity than many of these fake image conscious groups (off camera as well, not just in front of the camera), and there was no PR person regulating their answers. That in itself was great to see in a world increasingly focused on brand building bull. Topics include their view on downloading, when they are going on tour, charitable interests, appreciation for the fans and more.

Below are a few of the more interesting questions and frank answers from the members, who were funnier than I would have thought and very open and honest with both each other and with their fans. They changed my view. Hope you learn something new about them. Enjoy the vid and the pictures. Peace.

Part 1

Part 2

Part 3

Follow Us on Twitter @ http://twitter.com/planetill

Follow Odeisel on Twitter @ http://twitter.com/odeisel

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs

By T. Love

In 1998 Big Pun crumbled a barrier for aspiring Latino emcees.  Capital Punishment was the first album by a solo Latino rapper to garner a platinum plaque.  After Pun’s unfortunate demise, Fat Joe had a string of hits, including ”Lean Back” in 2004, and he achieved one platinum album with J.O.S.E.  Aside from those two there really have been no commercially successful Latino rappers. 

Brazilian born, Tampa raised emcee Laws aims to elbow his way at to the table of this exclusive club with 5:01(Overtime).  Laws is a DJbooth.net Freestyle series alum and had an excellent feature on Dub Floyd and Wally Sparks Hip Hop Doctrine Boondocks Mixtape with “Freedom Ain’t Free.”  5:01 is basically his 4:57 mixtape with four new tracks added and he has nicknamed it “Overtime”.  That could be considered a bitch move, but considering it’s a free download I can’t complain.

Actually, I can. For those expecting more “Freedom Ain’t Free” type music, prepare to be epically disappointed. If you copped 4:57, there’s no need to cop 5:01(Overtime), which is a blatant attempt to show that Laws can make commercial songs. In the process it demonstrates why, to many, commercial  rap in this present age sucks.  The beats are average, the rhymes are average, everything about this project screams mediocrity, even by commercial standards.

The album has production from 9^th Wonder and boasts contributions from J.U.S.T.I.C.E. League (not to be confuses with  Little Brother related collective J.U.S.T.U.S League), M-Phazes and Apple Juice Kid.  Subtle difference in spelling big, difference in sound.

“Believer,” featuring Jason Caesar, is a prime example of what’s wrong with this album as a whole.  It’s your stock sell out song, complete with a wack ass autotune-warbled chorus. “Make me a believer/ohhhh ohhh oh/ohhhh ohh”.  Seriously.  In the midst of this nonsense, Laws attempts to go deep, touching on the economy and soldiers deployed overseas. It doesn’t work as the lyrics sound uninspired and the beat just doesn’t match the subject matter. Strikeout.

“Audio Savior” continues the corniness.  ILLMIND laces him with a ho-hum beat that sounds like it was made by Scott Storch at the height of his cocaine addiction.  High-register keyboard stabs and Dr. Dre-like low-end synth jabs.  The track is pretty simple and with Laws’ mediocre lyrics the track’s title is a misnomer.  Here’s some of the lyrics that make Laws an audio savior.

“They sayin’ I spit proper/ but then respect turn into stigmata/ back in the day I wasn’t responsive/now I’m responsible for this Hip-Hop shit…they wanna bring up my origins again and again/ the first lyrical Brazilian American/ my skin tone may make you think I was Puerto Rican/ but if my head was covered maybe an Arabian

The only really good track is “Shining” produced by 9^th Wonder.  9^th brings his signature compressed drums and an alto sax sample along with violins every four bars. Although it is held back by yet another corny chorus, Laws does an adequate job of spitting some dope shit.

“Cuz when it comes to rappin’/I’m like Dr. Manhattan/ I’ll make a world out of dust kinda like an addict/I make something for nothing/ but I’m still coming son/ cuz in a perfect world M.O.P. would be number one….living like Machiavelli/apparently I’m dead but someone forgot to tell me”

5:01(Overtime) is essentially a pop record. Making songs for the ladies, clubs and radio isn’t a bad thing but when those songs fail to stand out and make people take notice, the album becomes Frisbee material.  If listeners care to support a new Latino rapper, by all means download the album from DJbooth.net and spread the word to your fellow Hip-Hoppers.  Just don’t be surprised or pissed off when your friends ask you to turn in your Hip-Hop head credentials for putting them on to Drake lite.

2.25 out of 5

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs