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What’s up?

I’m feeling good, man. I’m in a good space right now. I’m taking it all in stride and trying to make sense of it all.

You just released Thought Crimes for free download. How’s it doing for you so far?

It’s doing good. I’m very appreciative and happy with the response so far. People are really seeming to enjoy it. I tried different things than on my last one, Confessions of a Dangerous Mind. It’s an Un project like no other. It’s my first project as UnLearn instead of Un. There was a whole name-change process that I had to go through with reinventing myself. This was a rebirth project. I’m glad I was able to put it out amidst everything else going on in my life. I just had a son, I moved, I’ve been working on other projects so finding time to write and record was a difficult task. My son was the hardest part but he was supportive. He would smile at the beats he would like. I did most of the album with him in my lap. For me to go through all of that and still be able to put out a quality project that people enjoy, that works for me and I’m happy that I was able to put it out.

Some artists only release their mixtape for free download after they’ve sold some. You did this from the jump. Do you look at a project like this like you’re losing money?

The way I see it, it’s not me taking a loss as much as it is me putting down an investment. Right now I don’t have the aura or the allure of a mainstream artist or an artist on the come-up with the 106 and Park or mixtape buzz. I’m coming in with a different approach and it’s a lot harder now more than ever. It takes a much more courageous person to do that instead of sticking to the formula of mixtapes and battle raps.

Hip-hop needs a new story and this is my story. Not everybody buying hip-hop records buys rims or pushes weight on the block. This is more of an investment and I’m more concerned with putting out good music. As long as the music is hot and people react to it the way I would like them to, I’m with that. I did the same thing with my last project and people enjoyed that. I think more people need to do that. It’s unreal how many MCs I see in the street selling their mixtape for $5 or $10 and I’ve never even heard of them. I’m in Cali right now and I see it. I can only imagine what it’s like in New York. I would rather have more people giving me love for it than trying to get people to buy my album because I’m a starving artist. I see this more as an investment. People are going to be listening to me and they’ll be able to remember when I was doing CDs for free when my success comes to fruition.

How has the feedback to Thought Crimes been so far?

It’s a different feedback from Confessions. They were two different projects. Confessions was more beat-heavy and introspective. I had a lot of emotions on Confessions and Thought Crimes was more cerebral and pensive. People always love my lyrics and they see me as a lyricist so that will always stay consistent. In terms of the music, people like the production more on Confessions. When people get a mixtape, they think they need to hear nothing but freestyles and street records. Thought Crimes has more conceptual tracks like “I Wanna Know,” where I asked questions about the industry, the world and everything. I also have songs like “War Zone” comparing what was going on in the streets to what was going on in the world. People appreciate that and you have to listen to this with new ears. This isn’t an Un project. This is an UnLearn project. So far the response has been crazy and people have been loving it. I thank everybody for supporting it so far and the people who will support it as time progresses.

How are you judging the success of Thought Crimes?

Mainly, I would have to say the public’s reaction to it. I’m not as concerned with the numbers anymore as I was initially. After looking at the first few weeks’ numbers, it’s already doing a lot better than Confessions. My main concern now is people listening to it and giving positive feedback that they enjoy it. I don’t do too many freestyles, so what you’re getting is an actual album. You’re getting a full project at no cost to you. What a deal! For people to still react positively to it without having to pay for it, that to me is it being successful. When people go out of their way to email me or hit me on MySpace just to tell me they like my music, that to me is success. I don’t have the aura of other artists coming out and when the fans give me love and respect, I’m very appreciative of all of it. That’s how I judge my success.

On “The Beginning,” you have a line where you say you’re “touching on touchy subjects.” How important is that for you?

I think it’s extremely important. You don’t have artists in the mainstream doing that. You have dead prez and other artists who bring this up, but you can’t be a regular MC and talk about issues without getting labeled. You don’t have Young Jeezy and these other cats bringing up these topics. No disrespect to them at all, but that’s not their concern and that’s not what they’re trying to bring to the table. I’m trying to bring my thoughts to the table. In comparison to everything else that’s out there, what I’m saying should be illegal.

We have an administration right now in the White House that is trying to shut down freedom of speech and the people’s ability to have a dissenting opinion from that of the government. I got the “Thought Crimes” title from George Orwell’s 1984, where it’s a totalitarian order and people are criminalized for using their brain. I’m inviting people to use their brain and think outside of what’s going on in music videos and what’s going on down your block. I’m looking at every hip-hop community inside America and we need to see what the larger issues are. There are a lot of larger issues other than debating whether hip-hop is dead or not or if the hyphy movement is going to last. There are a lot larger issues out there and this project is dealing with that. I want people to make opinions by themselves. I’m not trying to change anybody’s opinions, I just want them to be educated in the choices that they make.

Can you break down the song “Messiah Complex”?

The letters basically stand for “MC.” I have an article with the same title. The whole topic is about rappers who become so successful overnight and because they have their music playing everywhere, they become their own god to an extent. They feel like they’re a savior in some way, shape or fashion. Then you have their fans who are hanging on every word they say, damn-near worshipping them in a sense. I wanted to separate myself from that complex itself. I say, “I’m not a prophet, I’m a person in progress.” I’m not a savior. I’m coming in as a human being who’s progressing and experiencing evolution and talking about it in the hope that others can relate to my struggle.

I still have that battle in me where you’re trying to do something righteous and moral and at the same time get paid. We all have that decision to make. Are you going to do something worthwhile or do something just to get money? I’m sure everybody’s dealt with that. You could be a teacher, but there’s not a lot of money in it. Teachers are some of the lowest paid people and then look at celebrities like Paris Hilton, who’s famous for no reason. “Messiah Complex” was examining that whole thing. I was bringing up issues that people don’t usually think about. There’s always that choice to do something regardless of what the risks are, whether it’s economically, socially or something else.

What was your inspiration for “Bare Witness”?

That was an interesting song. Jake One gave me that beat years ago and it wasn’t until I popped in the CD again that something hit me. It was like I had new ears. It just struck me differently. It just seemed like one of those gutter-type, street beats. I wasn’t going to come off it as a drug dealer or murderer. It seemed to me like it needed to be a real hip-hop song, like an anthem. You can see the crowd nodding their head to it. My man from Street Level put the scratches on it and just made it a raw, classic hip-hop song. I wanted to keep that raw, street edge to it because that’s my genesis. That’s who Un is.

If you go as far back as my career goes, I came from being an underground MC. I used to work out of the same studio as Jean Grae and Pumpkinhead and others in that arena of hip-hop music. I wanted to keep that spirit alive. I put that in and came up with the lyrics I came up with. It’s complex but it’s not that far over your head where the listener can’t bob their head to it. It’s a dope song and I’m glad I did it. I didn’t even get the title of the song until the scratches got put on it. With me being as spiritual as I am, it just fit. It all just seemed to make sense. It worked perfectly.

Rhyming over a classic Rakim beat is a huge challenge. How did you approach your freestyle to “Don’t Sweat the Technique”?

I wanted to make the song my own more than anything else. I didn’t want to try to remake that song. It’s a classic. Anytime you’re going to remake a song from somebody as great as Rakim or Nas, you can’t try to reinvent the wheel. I didn’t want to use his same flow or duplicate what Rakim did. What Rakim did is classic and you have to leave it at that. I remember my older brother bumping it and rocking to it. It brings back a lot of good memories in my life and hip-hop history. I tried to give it that same feeling that it had with my lyrics on it. I tried to do different things as far as my wordplay and speed things up while making it a feel-good record and having people vibe off the lyrics because the beat’s so classic. I would never try to do what Rakim did on the track because he murdered it. I tried to pay tribute to him and the old school by doing a track like that.

Now is probably the toughest time to make it as a rapper. Why do you rap?

I rap because it’s part of my personality. I’ve been writing rhymes and rapping since I was born. I was freestyling on the block, battling MCs and writing in a rhyme book before it became a fad; before it became the “cool” thing to do. It’s really been in me. I don’t remember a time in my life when I wasn’t rapping or doing anything that wasn’t hip-hop related. I don’t remember a time in my life when that didn’t occur. I rap because I can’t sing. I consider myself a soulful individual and I like to convey messages to people in a form they can enjoy. I don’t want to sound preachy, but I’m sure I’m not alone in how I think and how I feel. The best form for people who come from where I come from to relate to me is through rapping and being an MC. I rap with an objective. I’m trying to make people think and reconsider life. You always have the opportunity to change things and sometimes you have to change your frame of mind to get things accomplished. I have a song called “Why I Do This” explaining why I rap. I’m trying to explain what the larger pictures are. I know that I’m not alone in what I think and I’m sure that people can benefit from what I’m trying to say. That’s the main reason I rap.

Making money in this game has never been the main objective for rapping and recording music. I’m good economically whether I rap or not. My family’s good either way. I’m not concerned with the economics of it too much. As long as economics doesn’t play a factor in what I do as an artist, then I’m liberated and I’m not enslaved by the industry or by my own economic situation. We say we need money to be free, but at the same time, money can enslave you at the end of the day. The things you buy can enslave you. You’re trying to keep up your lifestyle and you can’t enjoy your lifestyle if it’s all about money. After the money’s gone, what are you going to do? Money can’t buy happiness. It only rents it. I’ve been in situations where it was all about money and trying to get paper. As soon as I didn’t have paper, everything disappeared; my friends, my clothes, the lights in my apartment and eventually my apartment itself. It’s not in my personality to rob people or sell drugs for paper, so I was basically a grown man on welfare and damn-near homeless, fucking around thinking that money was the answer to everything. I came to realize most of the things you see are mirages. I’m not an MC for hire. I’m an MC for purpose.

Is getting your message across the most important thing to you?

I think that’s the most important thing. I think that’s the soul of who I am. If I don’t have that, then I don’t have me. If I don’t have my artistic liberty and my artistic freedom, then I can’t be who I am. I’m enough of a well-rounded person that I can do other things. As much as I talk about the struggle and revolution, I’m still a funny dude and I can still cut a rug with the best of them in the club. It’s not like I’m walking through life with a blindfold on. I am who I am. There’s not a lot that could be put in front of me where I couldn’t adjust. I can do club records if need be, but that’s not my main concern. Doing radio records is not my concern. My main concern is to get these points across.

If anybody wants to work with me, they have to go into the negotiations knowing that. It makes no sense to me when these labels try to sign these underground artists and try to alter them and change everything they represent. Why would you sign them in the first place? You have groups like Little Brother and all these other MCs and cats out there that were underground and then they got big major label contracts. Then the record companies wanted to change who they were and that stifles everything. The whole idea, ideally, is that an underground or grassroots artist should have their fanbase expanded to a larger audience. Taking an artist who talks about socially conscious issues and having R.Kelly or Young Jeezy on their remix doesn’t make any sense.

These labels want to put you in a box so they can make money off you. They could care less about your concerns as an artist or as a human being. They want to know how you can make more money for them. They don’t care about how many records you sell. They’re making money off your ringtone. As long as you have a catchy ringtone, they don’t care, they make their money back while you’re still broke. I don’t want to be a product or an item on the shelf for a label. I’m a grown-ass man. I’m a man with a purpose. If you’re going to do business with me, you have to have that understanding. I’m not going to be a slave for money. I’m not going to be a slave for any of that stuff. As long as I’m like that, it’s not about the money. When it’s about the money, you’re enslaving yourself and the label officially owns you. You are now oppressed by your desire to have money. I’m against all forms of oppression, whether it’s economic, social, racial, all of that.

How did your music change when you went from Un to UnLearn?

I’ve always been Un for as long as I can remember. I used to be UnOrthodox and Amaze-Un. I went through a transition period where I quit music for a little bit for personal issues. I needed to find a new approach. To do that, I found that everything I was doing before was wrong. I was going into a cycle of destruction. I had to reroute my thinking and in rerouting my thinking, I had to try a new approach to the same thing. I had to get rid of the bad habits and just try to progress and become a better person. “Revolution” only means “change.” I’m a person in progress.

With Un, I was more like a rebel without a cause. It was hardcore, straight-up raw hip-hop. It was me trying to do records however I wanted to do them. If I thought I needed to do a street record, I would do a street record. If I thought I needed to do a lengthy soul record, I would do a lengthy soul record. If I wanted to do a club record, I would do a club record. Now I have an underlying theme, regardless of what type of song it is. It’s still me and the message I’m trying to get to people. The music definitely changed in the approach of it. Now I’m free to do the type of records that I want to do. It changed for the better.

Higher Learning is also one of my favorite movies and at the end of the movie, John Singleton types “Unlearn” at the end of the movie. It’s a calling. It’s an invitation for people to really change their thought process for the better to become a revolutionary in their own way. Being a revolutionary doesn’t mean that you need to be fighting something political. You need to fight whatever oppresses you and change those things. I can’t change my destiny. That’s in God’s hands, but I can change my choices. I can make smarter choices, and to make smarter choices, you have to have a smarter way of thinking. That’s what UnLearn is about.

What has your experience been with record labels up to this point?

I’ve been dealing with labels since I was 15 years-old. I’m 25 now. I started recording demos in ’97 and then went to dealing with managers and all that since I was in high school. I used to be in the Loud Records office everyday after school spitting for A&R’s, thinking I’m getting a deal and then I would end up on the street team. I used to hang out with my older brother and his friends when they were working for Rocafella. So in terms of dealing with major labels, it’s very much a part of my history as an artist.

I’m also coming from a place where I used to work at an independent label and I’ll leave them nameless. I came to this independent label with all my major label connections. I was working with a manager who had me up in all the major label offices from Def Jam and Rocafella to Interscope. I had to come to terms with the fact that as a new artist, major labels weren’t for me. An A&R at Interscope told me I was ten times smarter than any artist they had come across and they told me if I signed the deal, I was signing a deal with the devil. I’m against all forms of oppression and I don’t make deals with the devil. If I have an A&R telling me I’m signing a deal with the devil, as a human being that does not make sense to me.

These labels are trying to own who you are. The people who remain unseen and that you never speak to are the ones who control your career. The independent label I was working with wasn’t trying to do anything either. They were trying to piggyback off my connections. You had people in that organization who wanted to be stars themselves. The CEO of the company wanted to be a star himself. He wrote up his own bio. That didn’t make sense to me.

Artists like myself, we need to do the independent thing because we need to have our freedom creatively and personally. You have to be comfortable with the fact that you’re not going to be a millionaire. That’s what it is. You can either be comfortable with that or give up everything you stand for as a human being and a man and go for the money.

You have a lot of street artists signed to major labels and look how they have mixtapes everywhere and they’re called “the next artist to blow up” and then they’re in the interviews complaining about how they want to get their release papers. That, to me, does not make sense. Signing to a major label does not make sense if they’ll put me on the shelf for three years until I ask for my release papers.

If a major label is going to step to me, they’re going to have to do it correctly. Everything has to be on my terms because I’m the master of my own destiny. I’m the one who has to make the choices and if I make the choice to allow you to oppress me, then that’s my fault. Artists are putting themselves in that position and allowing themselves to be oppressed. That doesn’t make sense to me. I’d rather work with an independent label who’s going to put me out and let me do the music I need to make. I can make my money off that.

There’s a lot of legwork involved in that route. Does the grind scare you or is that something you embrace?

It’s everything and I’m willing to put the work in independently. I’m willing to put down the blood, sweat and tears than to have someone do it for me. I would rather just do it myself. I have a good team that can help me do it. I know enough people who are supportive and trustworthy. Whether or not they see a dime, I have true believers. That’s more important than anything else. Like I said, it’s not about the money. Sooner or later, if the grind is big enough, the majors are going to have to call. When they see you selling 100,000 – 150,000 records on your own, by yourself, they’re going to work with you. If I can get myself in a position where the deal can be negotiated on my terms, then that’s what it will be. I realize I have to grind longer to get better results. I would rather go the longer route and learn the hard way. By learning the hard way, you learn permanently. By going through the fire, you’ll have the burn scar. That means you learned firsthand about the fire. I would rather go that route and I’m strong enough for it. I’m built for it.

What inspires you to write on a day-to-day basis?

I listen to old Curtis Mayfield records and the Beatles. Their music strikes a chord with everybody. It’s universal. In me trying to be a universal person and making the claim that hip-hop is universal. You have to look at music that has proven itself. People loved the Beatles and Curtis Mayfield and you never heard them in the studio talking about how they needed a street record or a club banger. You hear that from rappers, but you don’t hear that from artists like that. John Lennon damn-near quit music to raise his son. There’s integrity there that can be learned from. I also listen to hip-hop from when I was a kid. I’m talking ’92 to ’97, like early Jay-Z, Nas, that classic headnod material. I listen to old jazz tunes as well.

Life inspires me for the most part though. I keep my iPod on me all day and by the time I get to where I’m going, I already have a song in my head. Life, more than anything else, inspires me. Being a father, being a Husband, being a son, everything you can think of inspires me. I get my inspiration from examining things, watching TV, listening to the radio or just existing in my own skin. I don’t try to lock myself in a room and create this fantasy character where I have all these weird, awkward adventures that aren’t close to home. Certain thoughts will strike me and I build off of them, next thing you know, I have four or five songs worth of material.

You’ve also written a lot of essays on HipHopGame. How does your writing process change from writing songs to essays?

It basically shifts a little bit in terms of logistics. The way I work on my articles is I basically talk, either to myself or to one of my homeboys. Then I listen to my conversation and I pull out certain things to see what I can use. Sometimes I may create my entire article out of two sentences. I listen to whole conversations and it will be two sentences that will start an entire article. That’s me recording myself instead of me sitting down with a pen and a pad. There are very few songs that I write down. I don’t have time to sit down and write rhymes anymore. I’m a busy dude. A lot of times, when I’m writing raps, it’s me building off a line.

Being a journalist gives you a completely different perspective. You have to look at things objectively. I try to do that, regardless of what side I’m on in the argument. I like to present both sides so the person can come up with their own opinion. At the end of the day, both forms of writing come down to words and I’m a fan of words. The ability to speak and communicate is extremely important to me. I listen to talk radio and I hear the words people say and I get excited from those just as much as hearing a great Nas verse. I always get excited at that. I’ve been a fan of words for as long as I can remember.

How do you choose the topics you write about?

I try to come up with larger topics and relate them to hip-hop. I’m sure if I tried to write an article on the Iraq war and ran it on HipHopGame, it wouldn’t get as big of a response as “The Messiah Complex: Who Do You Worship?” I try to come up with topics and make it fit to the hip-hop community. I said in a song once, “I’m a hip-hop journalist because CNN don’t come to my block.” The reason you won’t find many hip-hop heads reading the New York Times or Time Magazine is because they don’t feel that the material relates to their life or situation. I write less about the music and more about the culture itself. Hip-hop is a culture. It involves all the elements. You could have an anthropology class on hip-hop. A lot of times we make the mistake of thinking it’s all about the music. I try to remind people that it’s a culture and a community.

Within our community, we have problems that need solutions. People either agree or disagree with my solutions. I’m just trying to open up some dialogue and discourse to get people talking about it. That’s the first thing that needs to happen before we can implement these solutions. We have to get the people talking. The response to my essays is overwhelming and it shows that more people are reading and learning. The more people we have doing that, the more people we’ll have to create solutions to our problems when it’s time.

How far do you want to take your writing?

I’m a writer, period, whether it’s raps, short stories, essays, poems or anything. I went to college to write. It’s so ingrained in me to just write and write and write about anything. I’m always going to grind in the music. Whether it’s a literary journal or a poem, the possibilities of writing are endless. I can write anything. It really doesn’t matter. I’m so versatile in terms of my writing ability that the sky is the limit. Besides the music, I hope to be doing documentaries or writing a screenplay and have at least one poetry book out. It will all come to fruition. It’s all about planning. It all boils down to logistics at the end of the day. The possibilities are endless at the end of the day for writing.

Has being a father changed your approach to your music?

It hasn’t changed me. It’s not like I censor myself now because I have a son. What it’s done is it’s given me more responsibility. It’s given more focus to what my agenda has always been. It’s easy to talk about things and hope people listen to you versus talking about things and hoping that your child, who you’re emotionally connected to, listens to you. Every time I write an article or song, I wonder how my son’s reaction will be when he’s old enough to read or listen to it. It put a battery in my engine. I really buckled down and said, “I have a responsibility right now, if not to other people, then to him. He didn’t ask to be here and he’ll expect me to make sense of the world for him before anybody else.” I have to help him with that. It gave me more motivation for my music and my writing. It gave me more motivation for everything. I spend a lot of time with my son. He’s only 10 months-old, but I’m very close to him. He’s able to listen and communicate. When I’m picking out beats and he smiles to one, I’ll write a song to it.

Most of the beats on Thought Crimes were chosen from that and I think the production on that is banging, so he has a good ear. (laughs) He plays an intricate role because I’m doing it to make sure that he has somebody that he can look up to and become a good man off of. I want him to become a better man than myself. Everything that I’m doing now is me giving him a foundation for his manhood.

We need more rappers to embrace fatherhood. Outside of Will Smith talking about his children on records, you don’t have too many other artists doing that. All these rappers have kids and what are they doing? Their life isn’t always going to be in the trap. Let’s talk about how real we are in terms of our family life. Don’t tell me that you’re real because you sell drugs. Tell me you’re real because you’re a father and you actually take care of your child. Taking care of your child in the hip-hop community is a revolutionary act. For me to take care of my son is an act of revolution because this is not the norm in the environment that I come from. One thing that adds to our community oppressing ourselves is the lack of father figures in our lives and the absence of the institution of family. I consider having a son, raising him and taking care of your family as a revolutionary act against oppression. This is not the norm in Washington Heights, Harlem or Bed Stuy. These are not normal things in where I come from, so for me to promote that and for me to be in tune with that, for me, that’s an act of revolution.

What will it take to change those norms?

It’s going to take a change of thought and it’s going to take a change in the way that people think of family. God says in the Qur’an, “Allah will not change the condition of a people until they change it for themselves.” In the ‘hood, the word “pregnancy” makes women upset. It’s like a curse word. It should be a happy thing. In order to change that cycle, you have to change the thought process. There are all these other root issues that need to change. We have to change how we treat our women, mothers, sisters and girlfriends. We have to treat them with respect more than anything else. Of course there are women out there who are just trying to get cash and that’s who rappers usually speak about, but there are other women out there. We need to give our women the chance to become the respectable women they can be. If they don’t turn into a respectable woman, at least they had the chance. How can you give a message to others if you never had the chance to experience it yourself? Read up on it and learn to be a father. These are things that are affecting us. We need to find solutions. It’s all about learning and changing the learning habits and changing what’s choking us. It’s coming back to roost and it’s hurting us more than anything.

How’s your debut album Conspiracy Theories coming?

Beautifully. It’s some of the best music I’ve ever made. It’s the best production I’ve ever had. We’re trying to get Domingo and Jake One on there. Street Level is on there. It’s some of the best tracks I’ve ever made. I’m giving people glimpses of who I am as a man. If you haven’t already learned from Confessions of a Dangerous Mind or Thought Crimes, then you should definitely learn from this one. It’s the ten year anniversary of me recording music and my whole personality as a spiritual and socially-conscious individual is based on when I was 14-15 years-old reading about various conspiracy theories, so there’s more to the title than just a cool name. It’s great music and I’m excited to be working on this. I’m excited to see how it will come to pass. I’m in a good mindset to start working on it. I think everything is in place for this to be a success.

Ideally, when would it drop?

I’m trying to get at least 40 tracks done and then pick 16 or 17 of them. Realistically speaking, I’m thinking late summer or early fall, depending on the distribution. I have enough music to last me until then. Hopefully by the end of summer the album will be out.

What’s your main focus going to be for the next couple of months?

Recording this music and working on these articles. I have three articles that I’m researching and I’m working on some mini-documentaries examining certain aspects of hip-hop and urban culture. In terms of music, I’m trying to wrap up this album and put out another mixtape before the album drops just to show people that I can keep it going. I’m trying to be a workhorse right now. I’m in the studio almost every weekend and if I’m not there, I’m writing. It’s an intense grind and as long as my work ethic is there, my potential is endless.

What do you want to say to everybody?

I appreciate all the support from my believers. You know who you are. Don’t forget to download Thought Crimes if you haven’t already. The revolution is coming and you just have to be ready for it. It’s time to UnLearn!

http://myspace.com/amazeun

http://unlearnmusic.com

Dowload UnLearn’s Thought Crimes for free:

http://s4.quicksharing.com/v/7327475/UnLearn_Thought_Crimes.zip.html

Tracklisting:

Untro/The Message (Produced By Brisk Fingaz)
2. The One (Produced By Street Level Productions)
3. Bare Witness (Produced By Jake One)
4. War Zone (Produced By Phoenix)
5. Don't Sweat The Technique 2007
6. I Wanna Know (Just Curious) (Produced By Street Level)
7. This N!$%@ Said... (Produced By Gettic)
8. 100 Bars Of Redemption
9. With Me Or Against Me (Produced By Brisk Fingaz)
10. Get It Get It (Produced By Mourad)
11. Messiah Complex (Produced By Jake One)
12. Extra, Extra (Produced By Street Level)
13. Some, Some Feat. Patty Boss (Produced By Dirty Rick)
14. The Last Bad Guy (Produced By Street Level)
15. By Any Means Necessary (Produced By Sincere Noble)
16. Thought Crimes (Produced By Brisk Fingaz)
17. The Beginning (Produced By ShaMusik)

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