theBside requested something jazzy and being one of my favorite hip-hop acts of all time, Digable Planets were the first thing to pop into my head. My favorite album from the trio is already floating around on CTR somewhere (Blowout Comb, also one of the best 5 albums ever made IMO), but this is a nice rundown of some of DPs standout tracks from their full length efforts. I would’ve personally added or replaced a few tracks with others, but this compilation certainly is a good way for heads to become accquainted with Digable Planets if they aren’t already, yet is still nice for any fan to have in their collection. Recommended for fans of Tribe, Panacea & Jazzanova.

More info after the jump. Read the rest of this entry »

Requested by yung phuk. As I was going through my Silent Law albums I realized that I had missed one album on my Cymarshall Law discography. In 2006 Silent Knigh and Cymarshall Law did and album together as Silent Law called Simplexity. I apologise for missing it in the first place but here it is now along with other Silent Knight albums of course.

Solo:

Silent_Knight-Fall_of_Ignorance-The_Mixtape-2005-M*R_iNT [EAC rip]
Silent_Knight-Bar_Food-EP-2006-F*D_INT
Silent_Knight-Hunger_Strike-2006-M*R_iNT [EAC rip]
Silent_Knight-Restoration-2008-2* [EAC rip]

Collaboration:

Silent_Law-Simplexity-2006-F*D_INT (missing NFO and SFW)

Read the rest of this entry »

Jakki The Motamouth is a fairly unique MC. He’s not always my favourite type of cat to listen to, but I can definitely appreciate most of the shit he spits. The MHz (Camu Tao, Copywrite, Jakki Da Motamouth, Ramble Krohn, Tage Proto, RJD2 on the beats) album is actually fairly slept on, very top notch work. I haven’t listened to the Weathermen (Cage, Camu Tao, Yak Ballz, Copywrite, Vast aire, Tame One, Breeze Brewin, El-P, Jakki Da Motamouth) album, but it involves a buncha flame throwers so it should be more than solid.

Jacki The Motamouth LP’s:
MHz-Table_Scraps-2001-C*S
Weathermen-The_Conspiracy-(Retail)-2003-C*S
Jakki_The_Motamouth-God_Vs._Satan-2005-C*S
Jakki_Da_Motamouth-Psycho_Circus-CDR-2008-Xpl*de

Jacki The Motamouth VLS’s:
Jakki_Da_Motamouth-Im_Tryin_Bw_Stage_Fright-VLS-2003-J*E

Read the rest of this entry »

Another one I dug up from the archives. Two heavy weights in the game of hip-hop showcase their love for chess for Grandmasters. The Remix Album is done up by the likes of Dialekt, DJ Khalil, James Alsanders, L.D., King Karnov, DJ Solo, Lewis One, St. Louis, J-Thrill, and Scoop Deville.

Intro done… and we’re in. This record is good, though perhaps competent is a better word – it doesn’t scale the same artistic heights of, say, a Madvillainy, another collaborative record, but it’s still pretty enjoyable.

As is perhaps betrayed by the title and certainly by the cover art, most of the metaphors on Grandmasters are chess related, which very loosely wraps the record around a vague concept. (In between the songs you’ll find samples of chess pros talking up their game.)

GZA is an excellent rapper and lyricist – he has a knack for couching his tales-of-gritty-street-life™ in interesting metaphors and for populating those same stories with enough details to help lend an air of realism to the whole affair.
Of course, that doesn’t stop some of the songs from being, what, tacky? “Queen’s Gambit” uses gridiron as a metaphor for sex and is clever only in that it incorporates the names of different football teams in the lyrics. Unfortunately, this is now the third song in which GZA has done this, albeit with different narratives, and it just isn’t as impressive or clever as it was the first time.

Muggs, for his part, does pretty exceptional work throughout the record. The beats and the music are pretty solid, though not extraordinarily different to what you might have heard on something like Muggs Presents… The Soul Assassins. This isn’t a criticism, mind, I’m just placing everything in context.
There are some inspired moments, though. On the aforementioned “Queen’s Gambit,” whilst GZA is busy fucking three chess enthusiasts, Muggs drops a pretty spectacular bass line that comes close to salvaging the whole affair. Additionally, every once in a while, just to keep things interesting, Muggs breaks the music down and mixes things up in some very thrilling ways. This coupled with GZA’s rhymes makes for a pretty decent purchase.

(Via TheWaxConspiracy.com)

Tracklist after the jump. Cop these two albums here.

Read the rest of this entry »

I wasn’t sure what to think of BHV’s request of “College Registration” so I played it safe. I really do love both these CDs, is that Kanye gone for good? I sure hope not, it’s not promising though. 

Yes, Kanye West’s debut album The College Dropoutis proof that you can be one of hip-hop’s hottest producers and still be proficient at writing and delivering rhymes, that not all producers sink a track when they get on the mic. Yes, The College Dropoutis an example of a much-hyped, long-delayed, heavily bootlegged album that is worth every second of the wait, that is just as good as you expected it to be. Yes, the track that so much of that attention has been focused on — “Through the Wire”, Kanye’s confessional rap about his horrific car accident, capably rhymed while his jaw was still wired shut — is as riveting and moving as everyone says it is. Yes, the beats on this album are at least as hot as those he’s grown famous for. And yes, as a link between Jay-Z and Talib Kweli (or the “first nigga with a Benz and a backpack”, as he puts it on one song) he is likely to win over hip-hop fans of all stripes; when critics refer to him as “hip-hop’s savior”, you understand what they’re getting at, even as you think “Does hip-hop need to be saved?” But all of that is only half the story. That’s just the beginning of what The College Dropout is all about, only the first in the long list of reasons why the album is so unique, and so powerful.

A college dropout himself, West uses the cover art and a serious of skits to frame the album as a commentary on the educational system, a criticism of what people expect to gain from school and of the tenuous connection which that often has to what is taught and learned. That idea holds the album together as an extended look at the choices people make in life, and the reasons behind them. On song after song he uses his own life to rap about growing up and trying to survive in a harsh world, about the things we do just to get by. “Through the Wire” may be the album’s most startling personal horror story (though it’s also a song of hope and gratitude), but many of the other songs use autobiography in a more fluid and casual way. It’s like you’re listening to one of your neighbors tell you about his life — not because Kanye’s talents as an MC are pedestrian (by no means), but because he crosses subjects and contradicts himself in a very real way. His style of rapping is both self-boosting and self-deprecating; he expresses from-the-heart feelings about the world and where it’s gone wrong, then makes fun of himself for feeling like he has any right to judge others. He rhymes with conviction, and then steps back and laughs at himself… but instead of cutting against what he’s saying, that style makes the songs feel more honest. Kanye’s a Whitmanesque everyman figure who stands out in a genre where even the most “complicated” MCs — the sensitive gangstas — still all too often feel like they’ve built themselves personas to sell. On The College Dropout, Kanye West feels not like a persona but a person, and one who’s remarkably gifted at putting his worldview into a song, even when it’s messy and contradictory.

The more you listen to The College Dropout the harder Kanye becomes to define. In one moment he’s a street journalist who dissects the low expectations America has for young black teenagers and who understands the mechanics behind crime and the criminal justice system all too well; on the first track “We Don’t Care” he offers this wry chorus as a graduation anthem, and gets a kid’s choir to joyously sing it: “All you people that’s drug dealing just to get by/ Stack your money till it gets sky high/ We wasn’t supposed to make it past 25/ Jokes on you we still alive.” Then in another moment all he cares about is shiny car and women’s bra sizes. But lest you think that scholar/player is the only dichotomy here, check out the variety of ideas and complexities displayed across even just three of the album’s tracks:

On “All Falls Down” he criticizes consumerism as an expression of self-hatred rooted in history (”We shine because they hate us/ Floss cause they degrade us/ We tryin to buy back our 40 acres”), and then implicates himself in the same process.

The gospel hymn “I’ll Fly Away” leads into “Spaceship”, a low-key funk track about wishing you could get away from the working world via a spaceship; with help from GLC and Consequence, Kanye effectively links the legacy of slavery to modern-day corporate enslavement, while using the spaceship image to make evident the often invisible line between the “free us from the burdens of this world” theme of gospel music and the Afro-futurism of Sun Ra and P-Funk. Take into account the doo-wop style in which “I’ll Fly Away” is sung, and the Marvin Gaye sample the song uses, and you have a rich study of themes in the history of black music as well as a working man’s anthem.

On “Jesus Walks” Kanye proclaims his devotion to Jesus as seriously as the most devotional hymn singer would, while illustrating the way he falls in and out of what he perceives as the good path to follow. “I wanna talk to God but I’m afraid cause we aint spoke in so long,” he confesses, but then he goes ahead and asks us all to join him in that conversation, to push the song onto radio and push the divine into the heart of public dialogue. Extra dimensions are added to the song by the intense, cinematic presence it has, with all of the drama of a gangster film’s climactic scenes, and by a Curtis Mayfield drop that makes the song ripe for a study of intertextuality.Add to those the over-the-top “New Workout Plan”, both a hilarious parody of an aerobics routine and a platform for Kanye to wrap his words around weird shifts in tempo and style; “Never Let Me Down”, where Jay-Z rhymes about attaining status and power, Kanye one-ups him with a show-stopping attack on racism and meditation on death, and J Ivy offers words of spiritual upliftment; “Slow Jamz”, both an ode to quiet-storm R&B and a goof on it; “Two Words”, a deafening mix of social critique and bragging with Mos Def, Freeway and the Harlem Boys Choir; “Family Business”, a sweet, soulful tribute to family; and a few tracks with him boasting and goofing over slamming funk-n-soul tracks, and you have an album that’s complicated in exactly the right ways.Call The College Dropout over-ambitious, if you will, but every single one of these songs comes off like a genuine extension of Kanye’s personality and experiences. And all of them are musically engaging — an instrumental version of this album would rock the house. The album’s focus on old-school soul, gospel and funk sounds, with classic R&B hooks often processed and looped at a song’s center, fits thematically with the album’s look at survival, struggle, and community. Kanye uses samples and beats in a highly emotional way that feels entirely authentic even in the album’s most heart-on-sleeve moments, like “Family Business”. Here what would be hokey in another musician’s hands makes you feel real shivers, maybe even cry real tears. That level of “realness”, the way that the songs ring true whether he’s bragging or self-criticizing, joking or praying, is what makesThe College Dropout more than worthy of all of the attention that it’s getting. Even the 12-minute autobiographical monologue that closes the album is off-the-cuff and honest, against the odds.(Via PopMatters.com)

Tracklist and Late Registration after the jump. Cop them here.

Read the rest of this entry »

Much has been made regarding the mysterious Clutchy Hopkins. The only thing you and I need to be concerned with is his unique music. A bit of insight from his MySpace:

Who is Clutchy Hopkins?

Though we’ve found a few breadcrumbs, there really isn’t a consensus on the background of Clutchy Hopkins.

Clutchy’s Official Page at Misled Children doesn’t offer much in the way of answers. Though if you follow the purchase link, you can buy a some prints of Clutchy’s artwork. The best piece by far being the painting of Nijella Falhall’s nude bottom by the piano.

The other “official site” is his MySpace page. Here is the official biography from Clutchy Hopkins’ MySpace page:

Clutchy Hopkins is a multi-instrumentalist who recorded under various pseudonyms throughout his entire musical career; his recorded output consists of everything from field recordings of his travels to avant compositions, to jazz to funk. These recordings were up to this point unknown to the public. His father had been a recording engineer for Motown bands and had taught him intricate recording techniques when he was just a young boy. This knowledge Clutchy used to his advantage during his travels, working in recording studios from Bombay to Cairo. The information we gathered of him was from a small biographical manuscript that was found with his recordings under the care of a Mohave shaman who was a descendant of the Cahuilla Indian tribe who Clutchy had studied under. In this autobiography we find the writings of a musical gypsy who traveled the world investigating consciousness and its relation to music.

When Clutchy was just 20 years old he traveled to the Far East and was under the tutelage of Rinzai Zen monks in Japan for many years investigating silence and the rhythms of silence in music. Later, he studied Raja Yoga in India to master and articulate the movements of the body and its relation to sound. In his autobiography Clutchy relates his fascination with drums and their effect on consciousness so he decided to travel to Lagos, Nigeria to study with a master percussionist by the name Oba-lu-Funke. During his stay there he became a political revolutionary and gun-runner, and staged rebel missions to fight the oppressive government and its policies of Apartheid. During his intensive studies and travels, Clutchy was constantly recording music.

When he returned to the US Clutchy used his recording techniques to produce his own music and create instruments of his own. He has played with many groups primarily in the jazz, funk, avant setting. During his recording with other musicians Clutchy refused to contribute his name to the recordings, preferring to use a pseudonym or no name at all. He was purportedly good friends with Moondog and did some recordings with him; these recordings are yet to be found. His recordings span from the early 70s to the late 90s covering a whole spectrum of musical styles. After these recordings came to the surface, we have tried to contact the original source where these recordings were found unfortunately that source has since died. It is said by locals who knew him that Clutchy Hopkins returned to the Mojave Desert to finish his life out living in an underground cave; no one has heard from him since.

Clutchy_Hopkins-The_Life_Of_Clutchy_Hopkins-2006-F*D
MF_Doom_Meets_Clutchy_Hopkins-The_Life_of_Clutchy_Hopkins-(Crate_Digler)-Promo-2006-SO*P
Clutchy_Hopkins_And_Misled_Children-Peoples_Market-2005-F*D
Clutchy_Hopkins-Sleepers_Never_Dig_Diggers_Never_Sleep-Bootleg-2006-F*D
Clutchy_Hopkins-Walking_Backwards-(Advance)-2008-H*X
Shawn_Lee_And_Clutchy_Hopkins-Clutch_Of_The_Tiger-2008-F*D

Tracklists after the jump. Support this dude, he definitely deserves it!

Read the rest of this entry »

Jazz-Hop extradanaire Mark Farina hailing from San Francisco is back with Volume 6 of his Mushroom Jazz series. Some info from his Myspace:

The Legendary Series Is Back With The Sixth Installment.

The series is back and the wait is finally over! Get those neck braces out! Om is proud to present Mark Farina’s highly anticipated “Mushroom Jazz 6.”

To the un-initiated, Mark Farina is the master of the blend! The new album features new and unreleased material from the finest in Mushroom Jazz music (funky instrumental hip hop, downtempo, soul and blunted beats mixed together to perfection by Mark Farina himself), and on this sixth edition of this legendary series he includes a bumpin’ brand new Farina original track entitled “Life”.

A true phenomenon, “Mushroom Jazz Vol. 6” will have new and old school fans alike rushing to retail and digital locations. Get ready!!!

Mushroom Jazz Vol. 6 In Stores October 21st.

“Every once in a while, an entire genre of music can be defined by the tastes and technique of the selector who somehow understands it better than anyone else. Such is the sort of success that San Francisco – based DJ/producer Mark Farina has achieved for himself since starting off as a record collector and dedicated beatfreak in the house mecca of Chicago.” – DJ TIMES

“For many downtempo fans, Mushroom Jazz is where it all began.” –BPM

Support this dude and go buy these smooth mixes. Tracklists after the jump.

Read the rest of this entry »

We back! Here’s the discography for one of the best in the game right now!

This post includes the following Royce releases:
[Demo Tape 2000]
[Royce Da 5'9 - The Revival-2008]
[Royce_Da_59-Build_And_Destroy_Euro_Retail_2CD-2003-F*D]
[Royce_Da_59-Death_Is_Certain-2004-T*M_INT]
[Royce_Da_59-Hit_Em_Bw_Ding-RERIP-Vinyl-2007-U*P]
[Royce_Da_59-Independents_Day-(Real_Retail)-2005-C*]
[Royce_Da_59-Lost_And_Found-WEB-2008-B*H]
[Royce_Da_59-M.I.C_(Retail)-2004-O*N]
[Royce_Da_59-Rock_City_V2.5_(Special_Edition)-2002-H*R]
[Royce_Da_59-Rock_City_Version_3.0_(The_Definitive_Edition)-WEB-2008-B*H]
[Royce_Da_59-Rock_City-2002-EAC]
[Royce_Da_59-The_Bar_Exam_2-_READ_NFO_-_Bootleg_-2008-ROY****59]
[Royce_Da_59-The_Bar_Exam-2007-EAC]

Read the rest of this entry »

We back! Here’s the discography for one of the best in the game right now!

This post includes the following Royce releases:
[Demo Tape 2000]
[Royce Da 5'9 - The Revival-2008]
[Royce_Da_59-Build_And_Destroy_Euro_Retail_2CD-2003-F*D]
[Royce_Da_59-Death_Is_Certain-2004-T*M_INT]
[Royce_Da_59-Hit_Em_Bw_Ding-RERIP-Vinyl-2007-U*P]
[Royce_Da_59-Independents_Day-(Real_Retail)-2005-C*]
[Royce_Da_59-Lost_And_Found-WEB-2008-B*H]
[Royce_Da_59-M.I.C_(Retail)-2004-O*N]
[Royce_Da_59-Rock_City_V2.5_(Special_Edition)-2002-H*R]
[Royce_Da_59-Rock_City_Version_3.0_(The_Definitive_Edition)-WEB-2008-B*H]
[Royce_Da_59-Rock_City-2002-EAC]
[Royce_Da_59-The_Bar_Exam_2-_READ_NFO_-_Bootleg_-2008-ROY****59]
[Royce_Da_59-The_Bar_Exam-2007-EAC]

Read the rest of this entry »

One of my favourites during the downtime. First came across the L.J.s on a random mixtape and I’ve been hooked ever since. A quick review:

Two true LA heavyweights team us as the Likwit Junkies or L.J.’s: It’s DJ Babu of The Beat Junkies and Defari from the Likwit crew. The first two tracks set the tone: “L.J’s Anthem” is getting the story straight, properly titled, explains a lot while it also finds braggadocio and the right introducing words (in more detail also at the end of “The Good Green“). Rather horrible is the hook though by Noelle, which practically spoils the whole song with that voice (just as Dodee destroys “Dreamgirl“). Similarly annoying is the continued repeating of ‘one day away’ on “One Day Away.” Thematically interesting, this discusses everything good is just ‘one day away.’ The beat is a little less good than on the previous song, but at least ends with a really nice sample that is wasted on this outro though. Such serious topics appear again on “Change,” with a tale about a drug addict (somewhat ironic in the face of “The Good Green“, which is rather clever none the less), as well as on a shorty going through the struggle.On the beat tip Babu is not yet a true master. While many of his songs are really okay and will not disturb anybody, there’s very little remarkable about a “The Hop.” Rather badly mismatches is “Salute” though, a telling ode to their place of residence (again done on the bizarro version and kinda good “Dark Ends” featuring Dilated Peoples’ Rakaa), including many references to enjoying the time and sunshine, over a track that hardly picks up vibe. Same goes for “Ghetto” featuring a better (but still not necessary) Noelle and possibly the best beat on here that could have still be a little more upbeat. “Strength In Numbers” with Phil Da Agony & Evidence is kinda decent, but lacking true character. “Keep Doin’ It” is then just general poor, and standard boom bap.

If there’s any surprise on here then the several tracks where Defari goes beyond the bragging and boasting. So again on “One Time” with Krondon and Planet Asia, where the three do some good old traditional police bashing. At the same time there’s of course also just the silly old ’sex you up’ songs like “D.G. Skit” and this is again just a tad too slow. “6 In The Morning” is not a repeat of the Ice-T classic but a pseudo Caribbean riddim beat with Defari doing a sing songy style with a fake accent. It’s only slightly better than this descriptions makes it out to be.

The album then ends with two songs that are amongst the best on here really showing that the twosome of Babu and Defari could have turned up with a better album. “The Interview” answers more questions and Defari shows that he is certainly a simple rapper, but skills are still rather underappreciated. “Brother” is also dope, but repeats the error of “One Day Away” as it constantly repeats this one ‘brother’ sample. But the beat is severely funky. Thus these two songs are really rather proper, are appreciated as such, but also show how short so much else on this album falls.

Tracklist after the jump. 

Read the rest of this entry »

3 albums, 3 veteran MCs, 1 producer. DJ Muggs of the Cypress Hill fame IMO is one of the most slept on producers (along with Ant) ever. In 2005 he released Grandmasters with GZA. The album was an instant classic and I personally think it basicly revived GZA’s career(at least solo). In 2007 came Muggs’s collaborative effort with Psycho Realm member Sick Jacken Legend Of The Mask & The Assassin. Definitely one of the best ‘07 releases. Now on September 16 comes Dj Muggs’s album with underground legend Planet Asia(of Cali Agents) Pain Language. Make sure you buy that album when it gets released. DL links after the jump.

Read the rest of this entry »

I’ve recently been bumpin a lot of Doomtree stuff and I came across this release. It’s nice to hear a dope FeMC every now and then. Definitely check the track 551.  Breeze, if you haven’t already, I recommend you to check this.

ARTIST…..: Dessa
TITLE……: False Hopes EP
LABEL……: Doomtree Records
URL……..: www.doomtree.net

RIP DATE…: Apr-14-2005
STORE DATE.: Feb-00-2005
GENRE……: Hip-Hop
QUALITY….: VBR / 44.1Hz / Joint-Stereo
SIZE…….: 18,4 MB

Read the rest of this entry »

I first heard K’Naan when he was featured on M-1’s(of dead prez) album Confidential. He had a very good verse there but for sum reason I never really checked him. Anyway yesterday I watched the new Harold and Kumar film, which BTW is very funny, and a K’Naan song was featured in the movie. Anyway then I did sum research and found this gem. Very beautiful and poetic album. If you enjoyed the K-os post that I made sum time ago you will like this but even if you didn’t I still suggest checking this album cuz it’s good Hip-Hop. Anyway at least check the video.

[youtube=http://youtube.com/watch?v=J0IuUXHBkaw]

Read the rest of this entry »

I first heard K’Naan when he was featured on M-1’s(of dead prez) album Confidential. He had a very good verse there but for sum reason I never really checked him. Anyway yesterday I watched the new Harold and Kumar film, which BTW is very funny, and a K’Naan song was featured in the movie. Anyway then I did sum research and found this gem. Very beautiful and poetic album. If you enjoyed the K-os post that I made sum time ago you will like this but even if you didn’t I still suggest checking this album cuz it’s good Hip-Hop. Anyway at least check the video.

[youtube=http://youtube.com/watch?v=J0IuUXHBkaw]

Read the rest of this entry »

I first heard K’Naan when he was featured on M-1’s(of dead prez) album Confidential. He had a very good verse there but for sum reason I never really checked him. Anyway yesterday I watched the new Harold and Kumar film, which BTW is very funny, and a K’Naan song was featured in the movie. Anyway then I did sum research and found this gem. Very beautiful and poetic album. If you enjoyed the K-os post that I made sum time ago you will like this but even if you didn’t I still suggest checking this album cuz it’s good Hip-Hop. Anyway at least check the video.

[youtube=http://youtube.com/watch?v=J0IuUXHBkaw]

Read the rest of this entry »

I first heard K’Naan when he was featured on M-1’s(of dead prez) album Confidential. He had a very good verse there but for sum reason I never really checked him. Anyway yesterday I watched the new Harold and Kumar film, which BTW is very funny, and a K’Naan song was featured in the movie. Anyway then I did sum research and found this gem. Very beautiful and poetic album. If you enjoyed the K-os post that I made sum time ago you will like this but even if you didn’t I still suggest checking this album cuz it’s good Hip-Hop. Anyway at least check the video.

[youtube=http://youtube.com/watch?v=J0IuUXHBkaw]

Read the rest of this entry »

1. Overture (2:56)
2. Archetype (2:55)
3. Masochist (4:33)
4. Let’s Go (3:36)
5. Disappointed (4:15)
6. Loyal (5:15)
7. Porcelain (4:39)
8. Issawn (4:24)
9. Quotables (ft. Mad White Rap Allstars) (5:02)
10. Politics (5:16)
11. Pervert (4:13)
12. Heavyweight (3:56)
13. Children (feat. Anetra) (5:22)
14. Case Closed (3:32)
15. Gathered (5:22)

Download here

Since the new album just leaked here’s the first album that the BDI Thug made with 9th Wonder.

ripper.: ________ date ripped..: Jun-30-2005
label..: Duckdown date released: 000-00-0000
encoder: Lame 3.90.3 APS release size.: 51,10 MB
bitrate: VBR kbps tracks…….: 14
mode…: Joint-Stereo source…….: CDDA
url….: n/a

# t r a c k n a m e t i m e

01- Intro [00:56]
02- Chemistry 101 [01:35]
03- He’s Back [01:54]
04- Now A Dayz (That’s What’s Up) [03:32]
05- Slippin [02:31]
06- Side Talk [03:07]
07- The Ghetto [04:10]
08- Food for Thought [03:13]
09- No Comparison [03:43]
10- Birdz (ft. Phonte and Keisha Shontelle) [04:37]
11- U Wonderin (ft. Big Pooh and Sean Price) [04:23]
12- Out of Town (ft. Legacy and Joe Scudda) [04:42]
13- I Don’t Know Why (ft. Keisha Shontelle) [05:29]
14- Money Makes The World Go Round [04:28]
(ft. Starang Wondah)

51,10 m e g s t o t a l [48:20]

Download!

Mirror by something2die4!