Stagnancy leads to complacency and complacency leads to failure. You gotta keep moving and keep working.  Bigg Fatts has a work ethic that is unmatched. His music is a refreshing departure from the cookie cutter playlist of songs currently in rotation on the commercial radio airwaves. He offers something more authentic and real. The dynamic wordsmith creates compositions utilizing true craftsmanship, whereby careful thought is put into each line and melody. His target market is comprised of Rap music purists, who respect and appreciate authentic Hip Hop and lyricism. Bigg Fatts counts Rap superstars Jay Z, T.I., and Andre 3000 as some of his influences.

Equally important, Bigg Fatts is guided by the renowned entertainment company P.U.D. Empire. Moreover, Bigg Fatts is currently heating up the streets with his new single “Afraid,” featuring Z-RO and Ronnie Spencer. The track was deftly produced by O.G. Bow$er. “Afraid” is garnering accolades and airplay on notable mixshows from around the country. The song has all the right ingredients for a banger. The single shows off Bigg Fatt’s unadulterated candor. His distinct voice and eclectic sound make him a rare commodity on the independent music landscape. Bigg Fatts’ steadfast dedication and drive has resulted in a solid and growing fan base worldwide. Follow him on his journey to success.

The post Bigg Fatts – “Afraid” Feat Z-RO & Ronnie Spencer appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo Credits: One Deep Entertainment

Z-Ro performed last Monday (May. 14) at Game 1 of the NBA Western Conference Finals of the Houston Rockets Vs. Golden State Warriors.

https://instagram.com/p/Bix_xNqHNX8/

The Mo City Don has always tied his music back  to the heart of Houston and his hometown of Missouri City, Tx. The video shows the pride of the natives while paying tribute and homage to the late greats musicians and producers such as Chad “Pimp C” Butler, Fat Pat, Big Hawk, Big Moe, Big Mello, and the legendary Robert “DJ Screw“ Davis. The anthem gives the city a boost of momentum while the Houston Rockets continue to battle for the NBA Western Conference Finals title giving the city more to be proud of this summer.

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The post Z-Ro Pays Homage to His City in Visuals for “So Houston” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

H-Town Swagg. Photo Credit: Instagram

Up and coming Houston favorite Gorgeous George The Pimp God calls on H-Town vets Slim Thugg and Kirko Bangz for this new “H-Town Swagg” anthem that definitely puts on for the Lone Star State’s largest metropolis.

Check out the visual below

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The post Gorgeous George Recruits Kirko Bangz, Slim Thug & Z-Ro For “H-Town Swagg” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo Credit: Touche/Press Photo

As known, the genre of Hip-Hop was birthed out of immigration, struggle, and perseverance in New York during the 1970’s. While Rap will always have its spiritual roots in the Bronx, by the late 90’s the heart of Hip-Hop pulsated in the Southern United States. This created a cultural game of “push and pull” resulting in a symbolic civil war between the North and the South. Yet by the mid-2000’s, it was uncontested who the clear winner of this conflict was. Southern Hip-Hop had claimed control of the genre, bringing with it a foundation of unique artistry that is still present today.

Although the impact of cities such as Miami, New Orleans, and Atlanta, have had on Hip-Hop is never underestimated, no place has transcended Rap more than the city of Houston, Texas. Scarface’s vivid story-telling and DJ Screw’s slowed but concise instrumentals gave Hip-Hop a sound that has been duplicated by almost every artists and region in Rap. Yet despite this, Houston and its impact are often overlooked when the impact of Southern Rap is mentioned.

As he prepares for the June 30th release of No Love Boulevard, his 21st and final album, legendary Missouri City Rapper Z-Ro aka The MO City Don spoke about his lengthy tenure, his frustration with Rap, as well as his theory on why Houston’s influence is often undermined.

RESPECT.: “Can you talk a little about your life before Rap?”

Z-Ro: “Sh-t, before Rap? Nothing really trying to make a dollar. I’m from a group of Rappers where we’re half hustling, half rapping. Same story a lot of Rappers tell you about their life, some be lying, but I’ll tell you the real. There’s really nothing significant about that story though.”

RESPECT.: “You lost your mother as a child. How did that impact you?”

Z-Ro: “Not too many memories. I was young. I was six. At six you’re just realizing who your family is. Like ‘these are my aunties, this is my mom.’ I was so young all I knew was that my mom wasn’t there anymore. No more cookies and milk before I went to sleep, no one scratching my back to wake me up. But I found out what reality was shortly after, dealing with Child Protective Services and motherf-kers who didn’t give a damn about you like they would if you were their child. I guess you could say I had to grow up pretty quick. It made me not trust motherf-kers…. Put me in the mind frame of people will do anything to get by.”

RESPECT.: “So how did you start rapping in the first place? Was it just a means to get by that stuck?”

Z-Ro: “Well, coming from where I come from, there’s not that many things to do when you come of age. Play basketball, go out hang with your friends, and all my friends were hustling and shit. Me, I was always in some kind of church choir, singing, my people were church every Sunday. Being in that is where I got my gift for music. When I got to middle school, my aunt was like: ‘I found some of your poetry under your bed. It was kind of abstract. You should keep doing this.’ She bought be a Beastie Boys CD. I started listening to it. So, I started singing and writing in Rap lines. Then once I got to MO City and started hanging with cats that were selling dope and all that, it became second nature to get in it and first nature to talk about it. Then I would go to church after all of that and see people giving money for offering, but they weren’t giving me money. So, that’s how I got into rapping.”

RESPECT.: “What does the ‘Third Coast’ mean to your life and you as a Rapper?”

Z-Ro: “I’ll be honest, it ain’t really meant shit to me. I had my own sh-t going on, even when sh-t started getting better. I never really been a ‘Third Coast Rapper.’ I have been a ‘Rap Artists.’ I don’t really have a designated zone, besides MO City. I can rap in Cleveland, I can rap in New York, I can rap overseas. I have never been a ‘Third Coast’ type of nigga. That’s one of the reasons why DJ Screw put me in the ‘Screwed Up Click,’ because I was different. With all the different things growing up around me that I could have chosen to rap about, I chose to be more like Tupac. I chose to rap bout things that mattered like poverty, these b-tch ass hoes, these b-tch ass niggas, police, things like that. Don’t get me wrong, I love the culture of the city. I love to see the cars with candy paint, I mean I have a few, but that’s just isn’t what I chose to rap about.”

RESPECT.: “Can you describe your relationship with DJ Screw? How y’all met and how he impacted your career?”

Z-Ro: “Coming from Houston, Texas you couldn’t found someone who didn’t know where a Screw tape was. My sh-t was ‘Starship.’ Once I heard that I was like: ‘I gotta meet this guy.’ But, you’d think every time you go to DJ Screw house it would be all about the microphone being on, freestyle, smoking, drinking, and getting high. But most of the time we’d go to Screw house-yeah we would be doing those things-but then we’d get in the car. We’d ride around listening to his latest tape, then he’d just turn the music off and talk to us. DJ Screw taught me a lot about life. He was like the father/older brother I was looking for my whole life. He taught me a lot about life not, just music.”

RESPECT.: “How does it feel being a part of the Southern Rap foundation as well as being considered a staple in the game?”

Z-Ro: “To be honest, I don’t care about none of that. I only care about being a father. Yeah everyone says ‘Oh, you’re a staple in the game’ but I don’t feel like it. I guess when your accolades don’t reflect that sh-t, it’s hard to believe that. All I can say is: I hear it a lot and I know I’m on the radio still and that’s cool, but I really don’t feel it like everyone says. I know I’m a part of it, but I don’t really care.”

RESPECT.: “So has far as Houston being a goldmine for talent as well as being a jumping point for a lot of major artists, like Drake and Rick Ross, who do you think the city’s influence is overlooked at times?”

Z-Ro: “I think the light was on us after Screw passed for those six years because Screw passed. He was getting so big, but when he was gone it was like: ‘f-ck it, let’s put a light on the whole city.’ It was like whoever put a light on us made us look good, but down here our togetherness ain’t sh-t. Like in other places they can fake it while the camera is there then shoot and kill each other in the dark. There’s no sense of comradery. That’s why we get overshadowed. Everyone wants to be the man by themselves. I’m guilty of it too. There are some people down here I’d never f-ck with. We don’t know how to put our differences aside to get a bigger check.”

RESPECT.: “You mentioned the success Houston experienced after Screw passed, do you think the city will have a similar resurgence?”

Z-Ro: “Yeah, I mean probably with the new movement that’s going on. If these new guys start killing each other than yeah. But for those of us who are supposed to be ‘staples’ that won’t happen. The young niggas got a chance, but to be honest, I don’t care about anyone other than Slim Thug, Lil KeKe, and Mike G. I don’t really give a f-ck outside of that.”

RESPECT.: “I know we spoke on being a staple, but do you feel the impact your style of rapping has had on Hip-Hop?”

Z-Ro: “Yeah I know I have the impact. The credit, no. But the impact, yeah I know I have that. Just watching a couple niggas who are big give me my props. Like they aren’t gonna do a song with me. People like Drake has given props time after time, even performing one of my biggest hits at their concerts, saying things like: ‘this song influenced the song I’m about to do’ but motherf-ckers won’t do a song with me. I’m not gonna be not b-tch ass nigga and say people should put me on, because I know I’m on. They’re just taking what I did when I came into the game, but I know why I’m not on like them. I never sacrificed anything to get what I have. So, I’m cool doing what I’m doing. But yeah, I feel the impact.”

RESPECT.: “With your career coming to the end, and young entertainers like Travis Scott and Maxo Kream on the rise, do you think you’re leaving Houston in good hands?”

Z-Ro: “Like I said, this some new shit going on. I mean they’re doing what’s gonna get them a check. Maxo, I’ve talked to him a couple of times over texts. I’ll never bang his sh-t, simply because I’m always focused on what I’m doing. But, I don’t know, and to really tell you the truth, I don’t give a f-ck. We’re f-ck up down here. Everybody f-ck up because this new shit doesn’t teach anyone anything. It doesn’t teach girls how to be women or boys how to be men. It’s just like go get your own, let’s be out here doing all different types of drugs… I’m not with this sh-t. I’m a real nigga. I’m not gone hate on it because it’s these niggas life. But as far as me thinking I’m leaving it in good hand? No, I don’t think that. I’m just leaving this sh-t.”

Image credit: Z-Ro

RESPECT.: “Right now in Hip-Hop, there’s a lot of veteran artists still putting out music. I’m just wondering why you decided to retire?”

Z-Ro: “I mean, what else am I gonna do? I don’t want to keep putting out great bodies of work and let them just sit there and get wasted. Because people my age and the young people don’t buy music anymore. My fan base where they shirt tucked in and go to work every day. I still have a cult following. Imma still do shows. There’s still a lot of albums left that are recorded and ready to go. By this being my ‘last’ album, I’m saying that I’m not going to record any new music. I have enough music that’s ready. Just when they drop it I’m not going to be a part of it. Unless there’s a ‘Real Nigga Reunion’ coming up, I don’t want to be a part of this shit.”

RESPECT.: “You say you have more finished albums, why did you decide to make this one the one you drop as you ‘last’ project?”

Z-Ro: “I didn’t plan none of this shit. I’m just standing on my principles. There’s a lot of shit that goes unchecked by others, that I can’t not check. They think ‘I’m real because I fight, I’m real because I shoot people.’ That shit is real dumb. I know if you’re around something for so long you’ll either rub off on it or it will rub off on you. I know I have to get out before the latter happens or I end up killing someone. And I can’t do that. I don’t want to do 100 years over this.”

RESPECT.: “Since this is the end of your career and being around Hip-Hop for so long, how have you seen it evolve and what do you think the future of Rap is?”

Z-Ro: “I mean Rap been dead to me for a long ass time. There are a couple of people who still do ‘Real Rap’ like when I listen to J. Cole. His music ain’t about all that other sh-t everyone else is doing. Puts you in a mind frame, of ‘yeah this cool, there’s still people doing real sh-t.’ But Rap as I know it been dead. This ‘new shit’ though, it’s gonna take off and I’m excited to see where it goes.”

RESPECT.: “What are your plans after music?”

Z-Ro: “Like I said, I ain’t plan none of this. But whatever I do is going to be righteous. It’s going to be successful. I know the bills will be paid and I’m going to take care of myself. I’m not gonna be in the ‘hood on dumb sh-t. Imma be living righteously.”

In many ways, Z-Ro’s career has mirrored his native city. Throughout his tenure, Ro has given Hip-Hop a platform where it can transport itself to newer, otherwise unattainable, heights. But similar to Houston, Z-Ro’s impact on Rap has gone drastically under appreciated. Ignorance of talent has manifested into intense frustration. The lack of proper acknowledgment has forced a great artist, who clearly still has so much to say, into feeling unwanted and unheard. And as an iconic MC, Z-Ro deserved more. His impressive impact and abrupt exit personify the old Missouri saying of “give them their flowers while they can still smell them.”

As an innovative musician during this time of artistic redundancy, Z-Ro is an entertainer that Hip-Hop will surely miss. Whether or not he chooses to return to the mic is still unsure, however, what isn’t in question is the love and passion Z-Ro has put into this genre.

And for that, Hip-Hop will always be thankful.

Check out Z-Ro’s video for his latest song “Belongs to the Streets:”

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The post Country Grammar Vol. 3: The MO City Don Bows Out appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Go cop the big homie’s very first independent release if you haven’t already. Deeply Rooted features Rick Ross, Nas, John Legend, CeeLo Green, Avant, Papa Rue and Z-Ro. Shout out to Rico Allen for always holding our boy down. I’m looking forward to seeing him put in werk at the ONE MusicFest in Atlanta.

The post Real Talk: Mr. Scarface Is Back! appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Houston Rap is a detailed compilation of the ups, downs and in-betweens faced by not just those involved in the rap game, but the entire community. The book is divided into sections covering topics ranging from gang violence, the daily hustle, the struggle to rise above government conspiracies, bling, beautiful women and the lives of Houston’s most talented. Featuring interviews with Z-Ro, Geto Boys, Bun B, members of the South Park Coalition, the Screwed up Click and more, this book gives Houston rap the recognition it deserves, beyond just a playlist or an article. Read our interview with Peter Beste, the book’s photographer and Houston native.

*****************************************************************************

RESPECT: When you and Lance started this project back in 2004, what did you expect to find going into Houston?

Peter: We tried to go in without too many expectations.  One of my goals was to track down some of these old school characters, some of which who had faded into obscurity, and document them in their own environments. For example, Willie D‘s former protege, female rapper Choice, who released an album on Rap-A-Lot in the early 90s was one of the first people I tried to find.  She predated Lil Kim by many years rapping about sex and that kind of stuff.  We tracked her down and she was working some corporate desk job and hadn’t rapped for years.  We visited Pharoah from Street Military who is currently serving 60 years in prison, as well as many other legends and founders.  We wanted to find the people who created this amazing sound and document their everyday lives. We wanted to make it more than just a documentary about hip-hop, as we’ve all seen endless examples of those. I think the many years we spent with this project allowed us to dig a lot deeper and to get into these peoples’ lives, witness and document the struggles of their neighborhoods, and really try to avoid the typical, superficial topics we see everyday on MTV and in the mainstream rap press.

The book essentially covers a 24 hour period from dawn until dawn,  and covers topics of philosophy, religion, neighborhood gentrification and many heavier more personal topics – all in the rappers’ own words. Of course it’s filled with neighborhood mythology and tons of Houston rap history, but we really wanted to get a broader, more sociological, or anthropological picture of this really special time and place in American history.

Choice, Houston rapper

RESPECT: The book includes a lot of what many would refer to as eye-opening pictures; were you prepared for that level of violence and extremeness?

Peter: We knew what we were getting into as far as the drugs and the violence and the other stuff that we would inevitably run into. I think what shocked me the most was the extreme nature of the police state and the effect of the prison-industrial complex on these neighborhoods. It’s an incredibly vicious cycle, and it’s almost like they are preyed upon by the system in order to fill the private prisons. That was really disheartening for me. We took that topic head on and published letters from various rappers who were incarcerated at the time and talked to a lot of the wiser, more awakened rappers about the uneven playing field they are faced with. Of course this applies to more than just Houston –  it’s countrywide, and even worldwide, to a degree. The private prison industry is such a huge money- maker for a very few people, and to be blunt,  I believe there is a trap set to fill the prisons and to gentrify these neighborhoods.

Guns-n-Syrup

RESPECT:  Bun B makes an excellent point in the foreword when he says,

“A lot of times, when we see these books or documentations of certain scenes, or if you go deep into the inner city, there’s always a wonder in the back of one’s mind if this is for the expansion of the understanding or just simply an exploitation of the environment. I’ve always handled these type of things with a little trepidation because the inner city community is already exploited. The people in the community are already being exploited.” 

What precautions did you as a photographer have to take to maintain a sense of respect towards the people in Houston?

Peter: Lance and I went into this project with a genuine respect for these people. We want to see them succeed. At the same time, we wanted to document their world in an accurate way without sugarcoating it. We show the good, the bad and the ugly. I think it was a really fine line to walk, but this approach came pretty naturally to both of us. We went in there without putting any of these artists on a pedestal, and approached them as real people. We developed some genuine relationships in the process, and this book was a natural byproduct of that.

Dat Boy Grace, Houston Rapper

RESPECT: I can attest to the book’s remarks that Houston and especially the cities’ rap scene go widely unnoticed by outsiders. After seeing the various neighborhoods and the city for yourself, what do you think inhibited awareness of the talent in Houston?

Peter:  Houston is geographically isolated, and was more or less ignored by the mainstream until the 2005 popularity explosion, with the exception of the Geto Boys and UGK. This isolation allowed Houston’s aspiring artists to develop on their own, creating their own sound, their own business model, their own CEOs, their own distribution networks, their own record labels, and even their own drugs. It was this fierce independent spirit we were attracted to – a kind of hustler, do it yourself mentality, building something out of nothing. Over time people all around the world started seeing the unique qualities and the interesting nature of the music and lifestyle. Nowadays rappers all around the world are slowing their music down, sampling DJ Screw, talking about purple drank, and various other Houston elements. Many Houston rappers are smart businessmen who realized the major labels had a history of screwing artists, especially inner-city black artists. Many of them realized that they could sign to a major label and get 50 cents per album sold, or they could cut out the middle man and learn how to do it all themselves. They learned how to produce their own records, selling them out of their trunks and through their own distribution networks, which made them $7 or $8 an album, while maintaining their integrity and doing things on their own terms.

K Water’s Recording Studio

RESPECT: How different do you think the genre of Rap would be if every artist had to pave their own way like the rappers in Houston did, and still do?  In the book, Z-Ro touches on the element of authenticity found among Houston rappers;  “There’s a difference between you know, drawing a stick figure and then painting a portrait. I’m trying to paint a portrait.” What would you say is the most noticeable difference between the mentalities of rappers of more major cities compared to Houston?

Peter: Some rappers get “lucky” and get signed immediately, and they don’t really have to pay dues the same way. They basically sign this contract that gives the major label rights to basically every bit of their entire creative output, from their merchandise sales to live concerts – everything. Many artists in this position are hooked up with certain producers and become more of a hired gun rather than a self- sufficient individual artist. I think if everybody had to follow the underground Houston model, there would be more wise and well-rounded rappers in this world. I’m not trying to say Houston is the only city like this, but they definitely cut their own teeth and figured out a thing that works for them through trial and error.

The bottom line is that they didn’t have an external script to follow. That is respectable to me. I’m not into popstar rappers,  I’m interested in the raw, underground, street rappers who tell stories about their life and their struggles without the sugarcoating.  There are very few local artists who signed major label deals right off the bat in Houston – very few before the 2005 explosion. The Geto Boys exploded nationally in the early 90s, but were on Rap-A-Lot, which is a local independent label which had some major label backing. Once the Geto Boys broke nationally around 1991 or so, it made the average aspiring rapper in the Third Ward, Fifth Ward, or South Park realize that maybe they can do it too – maybe the world can take a Houston artist seriously. Geto Boys were a huge inspiration for a lot of people.

Z-Ro, in his kitchen

RESPECT: I know this is a difficult question, but if you had to pick, what would you say is the most influential song or album to come out of Houston?

Peter: I’d say my two favorite Southern rap albums are UGK’s Ridin Dirty and DEA‘s Screwed For Life. UGK are from nearby Port Arthur but they moved to Houston and are heavily associated with the Houston scene and sound. DEA, or Dead End Alliance consisted of DJ Screw, Fat Pat, Hawk and Kay-K. Sadly, Kay-K is the only one who is still alive from that original line-up. Dead End is probably the roughest section of South Park and their 1998 album Screwed for Life is one of their classic soundtracks. This album features a young Z-Ro, Lil Keke, Big Pokey, and many other members of the Screwed Up Click.

DEA

RESPECT: You mentioned DJ Screw. Talking more about him, what do you think has allowed his legacy to live on so strongly?

Peter: Screw had a profound effect both musically and spiritually on Houston as a whole. He brought people together. Up until the early ‘90s, there was this massive beef between the North side and the South side of town. Constant carjacking’s and shootings – it was really nasty. Screw is partially credited with squashing that beef and bringing people together, and making what they were doing about Houston as a whole rather than just one neighborhood. He was a selfless visionary who brought up everybody with him, which is pretty rare in the rap game. What became the Screwed Up Click was a loose association of aspiring local rappers and friends who would come hang out at Screw‘s house all night while he was making his mixes and  freestyle over Screw’s beats. He would record them on a little grey tape and then sell them around the neighborhood. Before long it became the soundtrack to ride around the streets of South Park, and it spread like wildfire – first throughout the city, then throughout the world.  People would be like, “Who’s this guy? Oh, that’s Lil Keke, that’s Fat Pat.” All these people and many more became  huge sensations based on the midnight sessions at Screw’s house. He made dozens of people famous and started a whole movement.

Many people would say that Screw was his own radio station. He made dubbed tape copies of his mixes, and if you were lucky enough to get a Screw tape, you would dub it for all of your friends and then they would dub it for theirs, and there would be 10^th generation tape copies spreading around the world.

DJ Screw’s grave

RESPECT: Thanks to DJ Screw, music that is Chopped and Screwed has become somewhat of a phenomenon. Why do you think syrup and screwed tracks took off so quickly in Houston?

Peter: A lot of people say that Screw music was kind of a soundtrack to the hot weather and sprawling highways of Houston, and was essentially theme music for the landscape and lifestyle of the city. There’s so many different components to it and it goes so deep, but the bottom line is that is communicates to a lot of people, even 13 years after his death. Lots of folks can relate to it.

RESPECT: Now that you’ve completed the book and finished this journey, what do you think is the main thing people need to know about the culture of Houston and more specifically the rap culture?

Peter: There are so many different artists, so many different neighborhoods, and so many different styles of rap the city has invented and perfected. What I want the average person to know is that Houston goes much deeper than candy painted cars and purple drank, which is sadly what is focused on by the mainstream. All one has to do is scratch the surface and you will find one of the richest and most culturally relevant musical styles of the 20th/21st century.

C-Note in South Park

RESPECT: Where do you see the Houston rap culture going in the next couple of years?

Peter: Mainstream attention comes and goes, but I believe that the average Houston rapper will continue to do what they do regardless of that outside attention. Texas is big enough to support its own.  They’ve built this from nothing, and at the end of the day they are still going to continue making their own music, promote it their own way and do what they want to do. The styles and the sounds and the names and the faces will change over time, but I think that the do- it-yourself mentality and that drive to succeed on their own terms will stick around for a very long time. The underdog story of artists succeeding on their own terms is inspiring for anyone.

Bun B and Friends

Houston Rap is currently in stores. You can order the “Sinecure Exclusive” edition which includes Houston Rap in a beautiful slipcase painted by Gonzo 247 (pictured above), a fold-out poster, and a DJ Screw/ Fat Pat 7” vinyl record. You can also order the “Deluxe Bundle” which features the slipcased Houston Rap book, the  DJ Screw/ Fat Pat 7”,  DJ Screw ALL SCREWED UP 2LP, a signed print,  the companion book Houston Rap Tapes, and a Fat Pat: Ghetto Dreams documentary DVD, which all comes in a Sinecure Books Tote Bag. Both of these special editions are super limited and are available at www.sinecurebooks.com.  If you want a signed copy of only the book itself, you can order it directly from www.peterbeste.com.

Rarely do you find such a real, accurate, and eye-opening book on the rap culture. RESPECT. sincerely hopes you don’t pass up the opportunity to broaden your rap knowledge with this extraordinary book.

The post Interview: Photographer Peter Beste Goes Beyond the Music appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Game continues with his #SundayService series as he gears up for the release of his album Jesus Piece on December 11th. “Rollin” did not make the album but features a star studded line up featuring Kanye West, Paul Wall, Slim Thug, Trae The Truth, and Z-Ro. The lineup adds to the soulful, Texas feel of the track. It may not have made the album, but it’s definitely dope. Take a listen below.

The post New Music: Game feat. Kanye West, Trae The Truth, Z-Ro, Paul Wall & Sim Thug – “Rollin” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.