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Mixtape Review-Doll Szn by Asian Doll

Mixtape Review-Doll Szn by Asian Doll

by Dan-O

The intro track (Doll Szn Intro) on the mixtape Doll Szn does a spectacular job establishing who Asian Doll is for anyone coming late to the party. Immediately after you press play she vents and tears away the preconceptions you may bring to this music. She knows a large portion of sour folks are sucking their teeth muttering “She sounds like Nicki…” as if that is an adequate insult. In a minute and thirty five seconds she tears all of that away, distancing herself from the backstabbing rat race female MC’s are put on. Then it is time for the music.

Queen of Nightmares is a sparse piano beat she absolutely demolishes before and after the beat beefs up and the bassline tramples in. She goes in for two minutes straight before you realize this has no hook. She catches bodies like she’s been working out and gets a dudes beard off her dress. If you’ve never heard Asian Doll before and want to know if she can really spit, track 2 resolves that. When she uses her voice for singing it works out very well. Her chorus on Lose You is well done and never interferes with her bars.

I’ve listened to Doll Szn every day for a week and never got tired of it. The track sequencing is right on the money. After the sing-rap-single feeling Lose You, track 5 is Clout which could be a more rave friendly Three Six Mafia song. Doll has a modern flow that bounces melodically but she has gears and can move at different speeds. The harder the beat smashes the more electricity crackles out of her on every bar. Arm Froze is positively fantastic with a hook that sticks and a vocal performance in the verses that moves as effortlessly and impressively as the chorus.

My favorite single line in Doll Szn (and verse) is the very beginning of Miami as the Cash Money Mannie Fresh pacing of the beat pushes her she says “ever seen a real B*%^ that rub your nuts and hold a Mac clip?!” The mental image is one my brain had never conjured before and whenever that happens no matter the subject matter you have to give credit where credit is due.  MC’s are not scientists they are entertainers so their goal is to remain important all the time.  From the more radio friendly stuff like Lay Up to the very last song she is vitally important. That last song is called Savage Barbie and it is one of the very best of 2018. The beat radiates beneath her and she rides it with unruffled resolve. This is her sixth mixtape so you might be assuming she should have already marshalled her talents with this level of poise but that is not how it works. Ask Charles Hamilton. In a year of very unimpressive mixtapes Doll Szn stands out as a rock solid calling card from someone who just wants to work and get better so when she gets a chance for the whole world to look she’ll be a thousand percent ready.

Stream or download Doll Szn below:





Mixtape Review(Mashup edition)-American Godfather by Jay-Z & DJ Skee

Mixtape Review (Mashup edition)-American Godfather by Jay-Z & DJ Skee

by Dan-O

It bothers me that the mixtape revolution which gave us hip hop in its modern form is hard to find traces of. You can still scour datpiff archives but when I throw “Kush and OJ” through my Amazon unlimited search bar it comes back with nothing related to Wiz Khalifa (I have not checked Itunes but Google Play didn’t have it either). The advancements in hip hop mixtapes that caused a need for Freemusicempire came on the backs of brilliant artists who will never end up in anyone’s top five (not because of lack of talent but because they aren’t in the public eye outside of the hip hop base). So I went through my external hard drive for anything with DJ and excitedly came back with DJ Skee’s American Godfather mashup.

2007 wasn’t just important for mixtapes it was important for Jay-z. American Gangster really is the dividing line between two eras. it is the last album by Dopeboy Jay. The album that followed was 2009’s Blueprint 3 which is underrated (in my opinion) but it is  Celebrity Jay on the mic.  His frame of reference was no longer what it was for Blueprint 1. American Gangster has three guest features while Blueprint 3 has TWELVE (Blueprint 1 had one guest and you know who it was). The Jay of 2007 was the same MC spawning new album versions of everything he dropped (example: Grey album & Red album variations of The Black Album) his bars albums charted with the best production and crazy videos at the height of the ROC rosters depth in terms of lyricists beat makers and raw corporate muscle but the mixtape circuit hungered for every written line. Verses felt like commandments.

American Godfather is the single greatest example of that time period in mixtapes. As a piece of classical music The Godfather soundtrack is perfect for incorporation into the hip hop sound. The horn section, the strings all move with a savy Italian grace that had to resemble nostalgia for an era long gone while conveying the shock and loss violence brings. That mournful whimsy in the orchestra sewn into the background adds even more majesty to Jay’s declarations to do it any way he can while taking in the savagery of the dealer landscape. It highlights what he misses by closing himself off emotionally. Since the original soundtrack tells the story of a good man becoming a calculating criminal leader the combination makes a lot of sense.

Listen to Pray go from pristine to gritty until the two mix. That song is a great example of what Skee brings to the table. Listen to the original Pray…he didn’t just weave in clips from The Godfather movie and sample the string section. The bassline on the American Godfather version of Pray is four times as strong.  He not only made it gorgeous with wind instruments but at the same time made it a dirtier head knocker and defiantly hip hop by dropping the beat in as savagely as he could. He made the song better.

The reverence for Jay that I referenced earlier is quite real on this mashup. The “every couplet could be a Tee Shirt” Jay-z pen game is so strong that Skee makes the decision to leave I Know absolutely naked. If you just listen to the story of it unfold in the specific detailed metaphors it signifies a real high point in the characterization within his writing. The only way to get you to focus on that is to rip the Neptunes signature sound out of the song and force you to follow the narrator;  leave you the reverberation of his voice saying “shoppin’s like coppin’ you constantly need it.” Jay is humane enough to paint tragedy onto every participant in the dealerscape because he has empathy for everyone involved. The game eats at him in ways other dealer-rappers never thought of. Jay is at his best when he is on a high level of physical real world details and emotional details at the same time.

Roc Boys being left nude for the world is even more off-putting. That song always functioned as the catchiest party song, the high point single reveling in the fun times of the dealer tale before the falling action.  By pulling out Diddy and the gang on production he leaves it ringing as a hollow moment of celebration that comes off more as a chant the main character is trying to believe but fears the finitude of.

Skee ripped the sample right out of Ignorant Shit and put guitars behind the Black Republicans beat (off Nas- Hip Hop Is Dead because mixtapes have no rules. Black Republicans is a better beat so bring it in.)  DJ Skee like Green Lantern and Don Cannon (Cannon’s redo of Drake’s first album is so much better than Drake’s first album. I didn’t even like Drake before I heard Cannon’s version) had a ceaseless desire to optimize every second of every song.  If you listen to American Godfather in the hopes of hearing everything in the Godfather soundtrack incorporated into Jay’s American Gangster album you messed up. He absolutely turns Success a thousand times better with The Godfather Waltz which binds the venomous distaste of Jay’s verse with the omniscience of Nas. The waltz creates an emotional spectrum that binds those very different emotional places but this isn’t a straight up slap together mixtape (which we see a lot of). Skee makes choices for the better of the project as if he were truly in charge with no red tape in front of him. As if the original album was raw material and he was The Dust Brothers on Paul’s Boutique freakin’ it however he saw fit.

Nino Rota couldn’t have imagined that the thickness and grandeur of his soundtrack would be clipped and repurposed in such a staggering way (even without the movie the soundtrack is an incredible listen). No one will ever convince me that a better version of Fallin’ exists than the one with Nino’s Sicilian Pastorale dialed into the beat making it sharper and meaner and more fun to listen to. It is so epic in the scale of its self-destruction. I think the beginning of The Godfather Finale is what was used for Sweet and it’s another great idea fully realized along with rearranging the order to place Sweet after Fallin’. American Godfather is born from a careful caring vision that guides it.

In 2007 when these kind of well worked visions were available for free I always wondered how many of these Livemixtape gems got to Jay. Did he hear The Billprint or American Godfather?  I never pondered if he would like them. I always hoped someone put it on for him so he could enjoy it. I knew he would love it and be proud of his influence on it.  Jay always thought about what his music would be like if he had been less commercial, he had more than a secret love for Kool G Rap and all the dark regions of hip hop far less flossy and flamboyant than he always was.  How incredible is it that his mark stretches so far people did their best work remaking his music? In my mind Hova hears the shifting going on in Blue Magic as the sample is incorporated and shakes his head like “that was the missing element,”  he heard the title track and got all scrunch faced, bobbing his head, taking nothing away from Just Blaze but DAMN those violins are sharp!

I am not one of these dudes who will write this paragraph about why Skee should have had a larger profile, gotten a bigger chance with bigger artists. Would Skee have given Ross some dope beats? Sure. Art is not sports. What you do is what you achieve; the Grammys is NOT the superbowl.  I love that hip hop has legend levels and if you’re on the bunny slopes you didn’t recognize WC holding the uzi in Friday. You’ve never heard Del Tha Funkee Homosapien rap about bad hygiene.  Whenever a popular rapper does a commercial someone says to me “Isn’t it terrible what they are doing to hip hop?!” and I smile.  That is the hot take from the bunny slopes and I get it. Consumerism has done a number on so much of our art and entertainment but not hip hop.  They don’t know how many levels we have that are protected by how much you care to know it, how much of your time you want to spend following it. Our firewalls can be cracked but pack a lunch.

To be clear this is not a mixtape of its time. It is not something you needed to have been there in the culture of its release to enjoy. This is something you could send to Danny Brown or Yachty or Uzi Vert and they would get it. They would bang their head like you will upon listening. The answer to “who did this?!” is in the same madman who played Ray Manzarek to Game’s post G-Unit Jim Morrison and gave him the canvas to paint all his malevolence on. He was there for Glasses Malone, Crooked I, Bishop Lamont and so many serious West Coast rappers best mixtape.  A solid gold first ballot mixtape hall of famer whose ad-lib created waves of relief for me and American Godfather is important to him. It would have had to be, to be done with this much care. To go seventeen tracks deep instead of a tight nine or ten. It’s careful in its construction and spiritually connected to the work of the original which is how it never seems weird that it is incorporating two movies into the world of a rap album.

I am not making the case that things were better in the era where mixtapes became more than freestyles. I never wanted to see the mixtape take the place of the album (I always liked the street clothes v. business clothes difference). I loved that mixtapes were a playground for everyone involved. Any idea that was off the marketable path, an image gamble, or outside the budget could be explored. Never anticipated that the label as we knew it would die and be washed away and the mixtape would be the only remaining path. The era of forced independence has made me look back on the formative content. Boy am I glad we built a second house before the first one washed out.

Stream or download American Godfather below:



Mixtape Review-The Cooligan by Scotty ATL

Mixtape Review-The Cooligan by Scotty ATL

by Dan-O

Being cool has nothing to do with style or taste. The icon of cool for a lot of Americans was Fonz on Happy Days but stylistically he wasn’t cool at all. He was set in the forties during the sixties; he looked silly to that audience. What made him cool was trust and reliability. You could always count on Fonz not to dress cool or act cool but to be cool. This is the definition of cool and the mission statement for Scotty ATL’s new mixtape The Cooligan. He wants you to know that not only has he gotten progressively better (this mixtape has some real storytelling happening: see Three Steps Forward) but you can always count on him to be heading in the right direction.

It’s no accident that Killer Mike always shouts out Scotty as a “who’s next” dude. The Cooligan gives you the best version of any kind of song you could like. If you’re a Future/Drake sing-rap guy just load up Neva Switch Up where he spits and sings at top notch levels over a 40-esque piano based beat that KE On The Track could have gotten placed on Drake’s Take Care. Scotty sounds perfectly reasonable next to two of my hero’s, 8 Ball & Devin The Dude, on the epic sex brag song I Needs Mine. Unlike previous projects he doesn’t have to rely on the genius of DJ Burn One, only produces two tracks, and it’s not because the relationship has frayed. Scotty now has more options than ever. Legions of fans are all new and just hearing him for the first time.

The running conversation with a beautiful female voice throughout the mixtape, about giving up the dream and moving on, about people’s faith in you being tested…is a big part of who Scotty is. The last song is Neva Fall Off and Scotty is still talking about family and people around him changing, the world around him switching from poverty to wealth and after all that elaboration he wraps those fears up neatly “they gave me reason and motivation to murder that @$$ be the man in my city and stack a bowl of that cash”. Scotty’s determination is not grim, he doesn’t stew in the negative sides of situations; he announces them and predicts their defeat. Maybe that’s why he gets such great guest verses from people. His reliability stabilizes the sometimes divergent talents of B.O.B on Fantasies and creates the comfort needed to get the very best Cyhi The Prince verse on Ni**a Concentrate. I need to talk about that song for a second. It might be one of the year’s very best collaborations. M16 laces a warm beat with looped background soul cooing and piano keys moving at the right upbeat Bill Withers pace. Cyhi’s verse is funny and personable and charming while Scotty’s (that come before it) is 100% heartfelt. When Scotty says “Everybody actin’ like they trappin'” you know it’s not general (by the tenor of his voice) that he tastes the names on the tip of his tongue but it wouldn’t be cool to say them. So he doesn’t.

If you need a succinct explanation of why and how Scotty will take over the world I only need two words. Speed Up. The song features no one and is an absolute smash hit, gets me in trouble at work for how excited I am under my headphones, produced by Black Metaphor. Scotty nails a perfect chorus, stays on beat and owns every inch of it. It’s a song Gucci Mane couldn’t have made. A lot of the drudging dark trap slithers by and doesn’t have an anthem gear. A lot of anthem level hip hop is as cheesy as in flight movie romantic comedy. Speed Up moves like lightning with its chest out, carrying authority and you know what? It’s still cool.

stream or download The Cooligan below:


Mixtape Review-Politically End Correct by Sy Ari Da Kid x Teauxny

Mixtape Review-Politically End Correct by Sy Ari Da Kid x Teauxny

by Dan-O

Fans of Sy Ari Da Kid are not in it for the production (typically mid tempo soul sample banger) or wild Jeezy like ad-libs. Sy isn’t trying to make music that plays in the background while you twerk. Those of us that rep his brand do so because he says things no one will. The cover image will tell you that just by showing you a black dude wiping his butt with the American flag (which would be fine but its touching the ground…gotta burn it now, right?). He doesn’t just do a Michael Brown song or Eric Garner dedication; on Current Events he ties all the events together to bring you into the hopelessness of hearing these headlines over and over. The feeling of defeat these tragedies create has never been captured as well on song (that I’ve heard).

On Mirror Music he says something I’ve been saying for years “How you gon’ diss golddiggers? We all gold digging.” Everything in a Sy verse is in perspective; the tough talk is a dude at the waffle house telling him he’s next. The sex songs always scamper between criticism of the woman involved and himself (“I tell you to shoot for the stars but look how you snorted the gun powder”—Anti Friendzone Interlude). Having released a thousand mixtapes he’s never written a hero in any of them. He’s naturally conversational; the hip hop version of that friend you have who delivers the truth viciously while all your other friends think he’s rude but you need that dude. You need the truth.

He’s certainly not alone. If Sy was the only rapper in this state of mind he wouldn’t be able to string together such massively satisfying posse cuts on ever project. This time its One Life that has a timeless Marvin Gaye sample from I Want You bass’d up and laid smooth (thank you Teauxny)for Sy. The beat switches to something spookier for the guests Bumpy Knuckles, Translee, DaOne, and JID and they all knock it out of the park. Translee’s pinched voice and dazzling word placement perfectly complement Sy’s brash intelligence and Bumpy is Bumpy damn it (“The legacies will never read that rappers was this hard”).

Teauxny does an incredible job at turning minimalism up enough to make it soulful and resonant. Agape is just a single sparkle looped and you can feel it push Sy to deliver a surprisingly complex analysis of love. Teauxny gets Sy in a way I haven’t heard from other collaborative partners. I want this to be part of a longer run of projects they make since they smashed the nail on its head.

Politically End Correct is only nine songs which is smart. Too much of this could wear you down but as it is it’s tight and intense and makes great use of everything that sets Sy apart. If you listen and like what you hear you should follow Sy Ari Day Kid on twitter. He’s as intense about basketball as he is relationships and politics. In fact, to let him tell it…it might all be politics just named different things.

Stream or download Politically End Correct below:

Weekly Hip Hop-up

Weekly Hip Hop-up

by Dan-O

This week I digested a bunch of promising projects at very different stages of satisfaction. Let’s go over them.

Sean Brown-Solitude

Autotune is a gift with two curses attached, misuse and overuse. While Sean Brown’s nine track project Solitude has the weeks most fascinating and promising individual songs it has some real low points. Rollin is as boring and standard as One Crazy Ass Dream is insane. So which is more important? The high points where you are listening to a sonically huge banger (produced by Sean) where he loses his mind(everyone should hear One Crazy Ass Dream) in verses and laces a flawless hook or the sleepwalking stuff drowned in autotune that rolls right off the 2015 conveyor belt. That’s the thing about Solitude, its only nine songs so it’s too short to judge. We should obey this rule whenever we don’t have sufficient evidence to judge: if you have greatness in you, you can be great; at any time. All he has to do is find out how to mine the focus he has on his best songs (best song on Solitude:Feel Good) for an entire album.

Stream or download Solitude below:


Issa-This Summer

One of the weird things about rap as a genre is how you encounter mixtapes you don’t want to like that MAKE you like them. This Summer is definitely more trap/drill music full of violent imagery strewn about its scorched ecosystem but the choruses are mighty. On songs like YNP (young n_ problems) it’s just flossing and flaunting, sneering and bouncing to the beat but he crafts a melody out of it like a snake charmer. This isn’t to say Issa doesn’t have engaging content, Only God has a moment where his baby’s mother admits she’ll probably never love anyone else and you can tell he doesn’t know what to do with that. He has points where he gives you a doggy door to look at his life and feelings. This doesn’t happen nearly enough (Boomerang gives me a headache…I don’t want to talk about it) over the course of nineteen tracks, however, and by the end you feel like your relationship with This Summer might not be a healthy one.

Stream or download This Summer below:


Tayyib Ali-Ali

Ali is probably the mixtape I’m most interested in studying more from these releases. While Philly rappers are known for blistering aggression and scathing flows Tayyib has neither of those. He’s typically at a leisurely pace that doesn’t seem to fits the city’s snarl of a persona.  No one could imagine Freeway or Beanie doing a convincingly awesome put-your-red-solo-cups-in-the-air frat anthem like How’s It Supposed To Be (Dave Patten is so great on the hook). Ali talks about days when his clothes didn’t fit right but never drops experiences that would alienate someone living in a different environment(even on Day In The Life which does get quite specific it feels soulfully applicable to you as a listener). He doesn’t fit into a Roots Philly neo-soul category or really anywhere else. 100 Bands doesn’t sound like any song that’s ever had bands in the title.

The Astronauts, DJ Gumble, and Ben Rosen do a great job giving Ali a completely unique sound. One based in bass and drums but not in a boom bap way, in a D’Angelo Black Messiah way. Ali is a mixtape bound to get more interesting the more you listen. At first you may be overcome by how slow the flow is and think not enough is being done but over the course of sixteen tracks you have to admit you’re having a very different experience from any other mixtape released this year and that’s something that demands attention.

Steam or download Ali below:


Mixtape Review-The Good Vibe Tribe by Audio Push

Mixtape Review-The Good Vibe Tribe by Audio Push

by Dan-O

The Good Vibe Tribe mixtape is as close as I am going to get to a return trip into LabCabinCalifornia. Pharcyde were so special because they managed everything, they were passionately fun, aggressively lyrical, excellently produced and always experimenting.  Audio Push don’t just give off that feeling they actively create it this time. For fourteen tracks this mixtape feels like two projects because it has two projects worth of written verse, songs that bleed over into 7 or 8 minutes long without you ever regretting it.

If I was to pick at it I would want much less of the end-of-song-spoken-word. Most of the time they don’t come across as Kendrick style poetry but real raps delivered acapella. I’m a curmudgeony song’s over next song type and would rather cut out any stray stuff. That being said Oktane and Pricetag are beasts and give more than enough for me to enjoy with memorable lines that don’t even hit you until the third or fourth listen. I can skip to the next song no issue.

Hit-Boy is still a guiding force, producing or co-producing five of the fourteen tracks present on The Good Vibe Tribe but the high profile beats aren’t really the draw. When Cardo and Hit-Boy team up for Sweep it’s a pretty basic second single strip club song (the interlude at the end is a smoked out conversation about the D.W. Griffith film Birth of A Nation and might be more interesting than the song which definitely contradicts my complaint about end of song non-song material so that’s how reliable I am). Normally (also co-produced by Hit-Boy) has a hypnotizing pace even though it covers largely the same material. All throughout the production is clean and crisp so the worst you’ll get are songs with well-constructed raps over professional beats (that will never have you lamenting mixing issues) that you don’t connect with.

Audio Push doesn’t traffic in digestible deep penetration hits. My favorite song is track five: Mary Jane & Sixty One Impala. The sweetness of the love ballad to dank is so well done and the transition between the two songs is great (Sixty One Impala starts with a blast of funk and the words “I need the James Brown light right quick, Roger Troutman to write my sh#t, a hit wick to ignite my spliff, and some college girls to come supply my fix…”) but most of all its one of those songs I heard and felt like I’d always known. Under the good vibe they supply is a righteous indignation, a secret they know that they feel none of us do…and it’s how good they are. This is a mixtape that vibes out but it ends with Peace Pipe, a vicious attack on rappers that suck. It’s a problem they spit out all throughout The Good Vibe Tribe and it traces back to the love of the craft. The welcoming  Native Tongues vibe of Bonfire (thank you Coryayo) not just in production but saluting peace and happiness directly in verse still takes time to obstinately state “don’t play this on the radio” affirming that being this good validates itself. Don’t go up to Audio Push and tell them they should be as popular as ___ they don’t need that.

While the familiarity of Mary Jane & Sixty One Impala is my favorite it’s not the peak of the party. Audio Push repurpose Westside Connections legendary track Bow Down and throw everyone on it with them. What comes out is B.O.W. Down where Oktane sounds his happiest and Fat Trel gives one of his very best performances alongside Turtle Nojoke, Seriious, T Clacc & B-Nice. It’s a monster moment you can’t replay enough.

If Audio Push demand anything it’s that you always watch for the difference between people who love the art and people who don’t. Ice-T called himself just a hustler but he was lying he loves the art from coast to coast and beyond and Audio Push do as well. They don’t need to say it, the right ear can just tell.

stream or download The Good Vibe Tribe below:


Mixtape Review-The Iron Way by T-Pain

Mixtape Review-The Iron Way by T-Pain

by Dan-O

T-Pain is the Mozart of strip club music. No matter how many changes he has gone through I’ve never given up on him because I know that to be true. I know he is capable of stifling musical intelligence and flawless execution on very silly songs about strippers and butts, even if he does go into the more silly than genius realm on occasion. Just listen to the T-Pain produced Booty Butt Ass off of his new The Iron Way mixtape with DJ Drama; I just kept picturing Luther Campbell from 2 Live Crew with one single tear coming down his face like “that was beautiful.” He has more range with his autotune usage than anyone else in music (proof of this starts two minutes and fifty eight seconds in and goes till the end).

The most educated critic had to feel that roller coaster nervousness during the first listen of The Iron Way. The Jay-z song D.O.A. changed T-Pain in a big way. It wasn’t a diss to him at all, Jay clearly took to task people ripping him off, but T-Pain took the hit and became unfashionable. Part of this was that he was already over exposed; part of this is that he’s a goof. This is the dude who complimented Ray J’s dick size on live radio when the Kim K sex tape leaked. People were ready to turn their back before they did. So when the first track ,Kill These N_’s, started and fed into the blistering rap diss Trust Issues we didn’t know if this was all angry rap T-Pain. Little did we know the supremely zoned out and darn near tranquil Sun Goes Down(Audio Push are perfect guests on this one) and Need To Be Smokin were to come. Really every kind of song was to come; this mixtape is twenty songs long. If you like enormous rap anthems with rewindable bars you need to hear King where Bun B goes bananas and Big Krit sounds like Denzel looks in Man On Fire.  If your into braggadocio reggae influenced finger snap hip hop then play Disa My Ting. He also drops the really sticky sweet club love song Heartbeat where he says “I can’t control it; it’s like your running electricity through me!”

As cheesy and novelty as Hashtag is the story of the relationships straining is very engaging and well-constructed. It’s a perfect example of what The Iron Way gives you.  Its genius; well sung, super listenable and genuinely evocative but cheesy as all get out. You have to find a way to embrace both to enjoy it. Like forgetting while watching a genuinely brilliant Kung Fu movie that these are dudes fighting on strings. By the way Pain can rap too; his verse at the end of 15 is acrobatic and venomous.

T-Pain is not in a position to fade out because he can do too much. He’s a very good rapper, producer, and the king of autotune singing. Dude can construct incredible melodies that sticks in your head and this T-Pain ,the post-D.O.A. edition, has a bit of an edge. He understandably feels betrayed by an industry that shuns him while re-purposing his sound. That means the gushy booty music like Ever comes alongside fiery anti-industry anthems like Personal Business. The imbalance is a perfect balance.

stream or download The Iron Way below:


P.S. I wanted to give you my favorite silly lines from The Iron Way mixtape since T-Pain just can’t help himself.

“She make me bite my fist, I guarantee you ain’t seen a booty quite like this” Booty Butt Ass

“Put my face in her booty like a vanilla cake” Did It Anyway

Best line is “You actin’ like your style fell from the sky. The good news is…you got it from a hell of a guy.” Relax