Tulsa
Lines
Itâs been almost 10 years since Kendrick Lamar spit this line on his song âHood Politicsâ, And since then Killer Mike still continued to push the needle of hip-hop, but to many it was a surprise that he would win the Grammy for Rap Album of the year for his album âMichealâ. A 14-track 53min and 51 second album that was released in June of 2023. To be honest it was a star-studded category with Metro Boomin (HEROES & VILLAINS), Nas (King's Disease III), Travis $cott (Utopia, and Drake & 21 Savage (Her Loss). Killer Mike beat Nas, Drake, and Travis $cott. All I could think was that this has to be an amazing album. So, letâs see why this is the Rap Album of the Year!
â The album starts out with the track âDOWN BY LAWâ that features fellow Dungeon Family member CeeLo Green. This track sets the tone for the album, Killer Mike lets you know, this is a rap album. His delivery and tone are similar to that of a revolutionary and he is unapologetic about his use of words. The song also represents an era where songs where 4 minutes at the minimum. Just skimming through his album, the shortest song is âTWO DAYSâ which is 2 mins and 14 seconds, which is still long in this current time of streaming and itâs just straight bars. This canât be taken lightly Kiler Mike is really rapping on this album. Thereâs so many quotable lines in this album for instance on NRICH âIt's underwhelmin' to be so overly underratedâ, I could only think that he has been the long shot his whole career. Now he has the championship. Another line is âI don't give a fuck who the president is, if the president ain't for meâ. Or this one on SPACESHIP VIEWS, âWhat you know about college educated and still had to sell cocaine, nigga?â. To be album of the year, especially rap album of the year, you have to have memorable moments in the album, and that's just what these quotable bars are. A high point of the album is seeing the Dungeon Family lineage of artists featured. From Rico Wade to CeeLo Green, to Andre 300, to finally Killer Mike and Future. The Dungeon Family has created the sound for Atlanta hip-hop and to this day continues to push the genre forward. On SCIENTISTS AND ENGINEERS is where the reunion continues as the futuristic production lend room for two artists from the future themselves, Andre 3000, coming off a totally instrumental flute album, reminded people that he still loves rap and is still one of the most anticipated featured artists. Check the wordplay âA stamina stampede of happily happenings, dabblin' into obliv-ion, neon, beyond the ambianceâ. Letâs not forget about Future who is undoubtedly the AndrÄ 3000 of this time. Few people realize that itâs not by chance that Future is such an amazing artist. He is a part of the musical branch of the Dungeon Family and it shows in lines like, âLearned how to turn a trap house to a mansion, Watched me watch the world take my pain and balance it, It's better to be an outcast in a world of envious (Oh, yeah)â. To be a fly on the wall when this track was made would be Heaven. Talkân Shit is probably the most turnt up songs on the album, the song pays homage to Three 6 Mafia by sampling two of their tracks âTear da Club Upâ and also â187 Invitationâ. He further pays homage by mentioning DJ Paul and Lord Infamous who are credited with creating Three 6 Mafia. Killer Mike shows his versatility as he switches his flow multiple times throughout the track and just executes so masterfully. He even switches from talking about underground kings like Bun B and Pimp C to talking about being in rooms with politicians. His bars are as versatile just much as the company he keeps. âI don't give a fuck who the president is if the president ain't for meâ. Thereâs plenty of depth in the album, one example being the track SLUMMER, where Kiler Mike talks about having an abortion, and then his lady going and having a baby with an older man. It doesnât get more deep than this track. It also showcases his storytelling abilities. With bars like, âA couple summers and our teenage love had turned to somethin' slummer, can't love her like I used to, she somebody's baby mamaâ. These are real life bars. Then you get to the track SOMETHING FOR JUNKIES which is another song that has a lot of depth to it. The way he raps in this song puts you into the conversation he had with his aunt. To still see her as a person and not what sheâs been labeled is empathetic and what the world needs more of. Also, we find out that he hit a laced joint, which was huge plot twist when going in with a preconceived idea of what the song would be about. The depth of the songs on this album is definitely my criteria for Rap Album Of The Year. When you think about Killer Mike and who would be in his class I think Curren$y and 2 Chainz are right up there. All three artists had to grind and create their own cult-like audience that helped them to reach different degrees of success, Killer Mike now having the highest musical accolade with 3 Grammy wins this year, it was great to see all three on the track SPACESHIP VIEWS. Plus, they are all car junkies. The self-proclaimed âKing Of Car Talkâ, Curren$y really shined on this track, âI bought this hoodie on Fairfax, I'm all over hundredâ (Peep my Genius annotation). Donât forget about 2 Chainz, who brought his original signature flow âHalf a mill' for my fee-finder, Use a coffee grinder for a weed grinder, Search your house for a key, find itâ. This is one of the many great moments in the album. I take it back when I said about SLUMMER and that it doesnât get more deep that that, because MOTHERLESS is one of those powerful, emotional, and thought-provoking songs period. âMy momma deadâ The song couldâve ended here, and that wouldâve been enough, no other words were needed. But Killer Mike fought through the emotions of this bar and gathered himself enough to deliver a powerful performance. His words really had me sitting back and thinking, like in this line, âIf God sent me back to normal to be next to you, I would gladly trade it all 'cause I be missin' youâ. And letâs not talk about the performance. There was this relatable pain and flow of emotions that translated as he stood in front of a live audience on the Jimmy Fallonâs Tonight Show and rapped his heart out. Look at the emotions in this and tell me you didn't feel it. DONâT LET THE DEVIL definitely sounds like a Run The Jewels track, as both members Killer Mike and El-P showcase their ability to rap and why they have been so successful as a group. El-P gets off on this track, âHow you movin'? One of two in, super groupin', Gorilla glued up to the cash, couldn't lose itâ. Maybe this track is a foreshadow to another Run The Jewels album in the chamber. Weâll just have to wait and see. The last track of the album is HIGH AND HOLY which starts out with this lady of African-decent that is speaking what sounds like an African language. Itâs spoken so beautifully that I found myself wishing that I could understand and speak this lost language, itâs somewhere rooted in my DNA but lost through the enslavement of my ancestors and probably further lost with the burnings and killings of my people. Until now, I feel like the resistance of the blacks is in this album sewn into each bar is this language that we created, and without a computer itâs constantly being updated through hip-hop. He forreal spittinâ holy bars, "'Cause we just trifle, we carry rifles, granny carry Bibles, We carry hatred for our rivals, same as Cain and Abel, Killed his brother 'cause God showed him favorâ. But wait thereâs an extended version of this album, thatâs just how good this album is. And as I get deeper into the 2nd part of the I keep coming back to the production of the album and how big the sound of the album feels, this is probably partly because of the amazing engineers, mixer Migui Maloles, and engineer mastered by Nicolas de Porcel at Million Dollar Snare. Who is known for Baby Keem and Kendrick Lamarâs âFamily Tiesâ and also Roddy Ricchâs famous track âThe Boxxâ, just to name a few. This album is another masterpiece to add to their resume. Killer Mike described this album as "Like A Prodigal Son Coming Home". Thatâs exactly how I would describe the second part of this album. It feels so Atlanta. It feels like youâre there. You know where the good spots of town are. You know where the bad spots of town. But all-in-all you know what it takes to make it here. The 2nd part of the album features 4 new tracks âYES!, MAYNARD VIGREETTE, âGET SOME MONEYâ, and âACT UPâ. You probably can't mention Atlanta rap without mentioning T.I. who is featured on Maynard Vignette, he kept it playa partna, and the T.I. we all love to hear lent some dope bars, âmy life full of highlights, if it was a book, it'd be a page-turnerâ The track also features JID who just came off a huge single âSurround Soundâ that was pushed by TikTok, it was well deserved just like Killer Mike, heâs been paying his dues and now is being rewarded. He shows his crazy wordplay, especially in this line, âTell me more about the war, the wins, I know the stories of the horrors we in, Now we goin' for the glory, I'm on a victorious bingeâ, GET SOME MONEY is about what you think itâs about. The Powernomics. Killer Mike is rapping like the rent is due. At times the chorus becomes this chant. He sings, âGet some money bitchâ. The song even does some interpolation by using Yung LAâs hit single âAinât Iâ that Killer Mike uses in verse 1. He doubles down on needing money by ending the track with the bar, âYou can't do nothin' if you're brokeâ. ACT UP is a track where Killer Mike is not playing fair. Heâs just doing rap somersaults on this track. Youâve already proved that you're a rapper. You ainât gotta step on the competitionâs necks like that. Just bars! Just bars! We ain't worry! But also, I would say this is balanced by Young Nudyâs slower tempoâd verse. It feels like Killer Mike shooting the shit with his trap homie. It's a really good song. Like I said, the 2nd part of this album is so Atlanta, this point is brought home with DOWN BY LAW - Live frin Atlanta, GA. The song is literally a homecoming for Killer Mike. The track draws you into what it would feel like to be from Atlanta in front of your home crowd. Listening to this track is like hearing the record for the 1st time but with the addition of live instruments and hard-hitting bass. What I like the most about the live version is hearing the different voice inflections and imperfections and improvisation that comes with performing live. It's better my Nigga. Plus, he got CeeLo Green to sang like he was pulpit in an Atlanta church. Wooo!!â Another track that was remade for this second album was RUN titled RUN - Damian âJr. Gongâ Marley Version. The song is a great marketing move on Killer Mikeâs part seeing that music is going to a more worldly sound. This version is heavily Reggae influenced and even featured one of the greatest musical linages, the Marley family, that is Damian Marley, you gotta go through him to get that co-sign that you arenât riding the wave of a certain vibration, that is not to be messed with. But it's a dope rendition of the song. MOTHERLESS hits so much harder on the 2nd version called the MOTHERLESS - Robert Glasper Rendition. They way the piano plays so somberly in the background coupled with the life lessons that Killer Mike puts into his verses is fucking amazing. One thing I also noted was just how vulnerable he allowed himself to be in this song as he rapped about missing both his mother and grandmother, there's still the deep emotion this song provokes on even the 2nd and also 3rd version of this track. You saw that right, there is also a 3rd version of the song MOTHERLESS. The last one being the single version that has that radio feel. Itâs like he knew MOTHERLESS specifically would be the song to make it undeniable that he should win a Grammy. â When it comes to TALK'N THAT SHIT, the 2nd version, itâs like he invited Three 6 Mafia in the booth with him. The DJ Paul ad-libs and the sampled productions seem to run deep into the core of the Three 6 Mafia sound. This is re-emphasized when the beat switches to â187 Invitationâ. Itâs a track that you have no choice but turn up to. It's his club banger. Every Album Of The Year needs that one club banger. Who's better than Three 6 Mafia at doing that? The last track of the album. No really this time. The last track of the double version is DONâT LET THE DEVIL - Single Version. This is a more polished version of the song. The production is crisp and clear. Whatâs still there is the lyrical assailants that are Killer Mike and El-P, their verses are a display of their lyrical skill. Again, I ask, a new Run The Jewels album??? Maybe. Letâs just enjoy this track until then. There you have it. The album of the year and Grammy Award Winning Rap Album of the Year âMichealâ. This album was worth all the hype, because it wasnât hype. It was a masterpiece, a work of art, and worthy of every award that it wins. The album was filled with some of the biggest features and also took you on the journey that was Micheal. It was an album where Killer Mike was the reason why the featured artists stepped up their bars and knew they had to "rap rap" or be destroyed by Killer Mike on the track. But also this album has a lot of depth that hits hard. Maybe that's because it is so relatable. The constant duality of being human. The album cover illustrates this as a young Killer Mike is pictured with a Halo and the devil horns. We are both good and evil. There is a message for people who do good and a message for the people who do evil. And itâs all told through Michael. That's why this is RAP ALBUM OF THE YEAR! So give the album a listen and tag Killer Mike to read this album review.
0 Comments
When it comes to making music there are a million artists on this planet to choose from. But maybe that's where the problem lies, weâre only looking for artists that are on this planet. Itâs a big universe. So why limit yourself to just the Top 40. Go see the galaxy. Thatâs exactly what NASA BOâs latest album Mr. Universe is doing. Itâs doing things on an intergalactic level. And passing up all the haters in the process. Letâs take a look at the latest project from NASA BO.
NASA Bo is an artist from Oklahoma City who has become known for his hardcore in your face delivery and his hard-hitting bars, and can you believe this is his first full-feature project of which comes in at 20 tracks. An album with this many tracks comes in handy if youâre planning to go across the universe. Youâre gonna need a lot of music, and thatâs just what this project provides.â THE INTRO
Every album needs that first track to make an impression. Thatâs just what the "Intro" is. The intro makes an impression right out the gate and sets the tone for the album. That tone being slapping beats and NASA BO rapping, rapping. NASA BO ainât just making words rhyme. Heâs going in. Iâm talking about bars. And this is just the intro. When you get to track 2 âTeslaâ, you know that track 1 wasnât a fluke. NASA BO can really rap and he knows his value. âIf these rappers wanna feature, ima charge em like a Tesla.â Itâs witty bars like this that arenât sprinkled throughout the album, Naw forget that these witty bars are heavily poured like your grandmaâs kool aid. But the intro ainât over, NASA BO letâs you know just how to say his name on the next track âNasa not Nashaâ. âIf you speaking on my name then pronounce it right.â â
THE SAMPLES
Itâs clear to hear in the first few seconds of some of the tracks that NASA BO wasnât afraid to dig deep in the crates and rap on some of the most iconic tracks. Track 4 for instance is this soulful sample of Deniece Williams song âFreeâ, which also happens to be the name of the track. Itâs like the producer just gave NASA BO free range to murder the beat. Another classic sample is Tupac and Jon Bâs âAre You Still Downâ. Also is Bill Withers classic âJust The Two Of Usâ. This track is more of a slower tempo with bars that reference what it means to really stay down. Most of the album goes deep in the sample crates which is a vision that was brought to life with the help of producer SAUCEMEUPGQ. Which weâll talk about next.
SAUCEMEUPGQ
We had to take a second to give respect to the producer SAUCEMEUPGQ and Track 5 shows your why, because by the time that you get to this track you realize that SAUCEMEUPGQ has been mentioned numerous times already. And not only do you hear his iconic beat tag all over the album, he also executive producer over the project, so itâs only right that he gets a track inspired by the producer on the track called "SauceMeUpBO". âFuccin with GQ got me sauced up.â The beat is on go and so is NASA BO. You really see the magic of this track at the 1-minute mark where the bass is stripped out and NASA BO switches up his flow as if heâs sprinting on the track. This track is definitely sauced up and is a high point of the album. SAUCEMEUPGQ even gets to shine as a featured artist on the track âTriple Doubleâ. NASA BO goes in himself from the very beginning and then throws the assist to SAUCEMEUPGQ, who shines with some clever lines of his own. âMe and NASA on the beat, Houston we have a problemâ. Another surprise about this track is that it's actually produced by his NASA BO's son Jamango.
IRONIC BARS
Throughtout the tape thereâs these ironic bars that stick out, some of them are really witty and some of them are bluntly rhetorical. For example, on Track 9, âKeke Palmerâ he says the line, âHow you real but you wear fake clothes?â. Itâs a really bluntly rhetorical bar that makes you just think. On another track he spits the line, âHow your baby momma love me, but mine donât.â, thatâs some irony for your ass. But this also shows NASA BOâs ability to make even the most sensical bars into a perfectly painted picture. You gotta give him his just do.
THE FEATURES
When it comes to the featured artists this album only has 3. Thatâs something you wouldnât expect from a project with 20 tracks, and surprisingly itâs well balanced. This is NASA BOâs project, so you gonna get NASA BO. But as far as the featured artist, weâve already talked about SAUCEMEUPGQ who lends his production skills and bars to the project. Also, thereâs Uno who lends his vocal talents on the last song of the project. He brings a softer side to the album which if you want to sale records you gonna have to have a few for the ladies to vibe to. And the track âNo Lettinâ Upâ does that with its infectious chorus. But our favorite feature of the project has to be on âHeart Breakerâ, which samples Mint Conditions track âBreakin' My Heartâ. NASA BO comes in so smooth with a pimp vernacular, then he switches up his flow up while calling out famous tv female co-stars from 90s tv that he had a crush on. The featured artist Tony D. just shines, his unique delivery and undeniable confidence makes him stand out. Listen to this bar, âHittin licks with Jordans, blocks on blocks, DeAndre, Blueprint like Jay-Z, Irreplaceable Beyonceâ. Heâs in his pocket on this verse.
THE METHAPHORS
As you go through the album itâs clear that youâll hear some crazy metaphors. NASA BO really be out here rapping. Thereâs so many lines weâve already quoted but thatâs just the tip of the iceberg. The album is bar, after bar, after bar. For instance, on âStuck N Loveâ where he spits the line, âShe was black but now she Russian how she getting her cream on.â and not only that bar because throughout that track are so many more like, âAinât nobody got my back like this VLONEâ, bars. Also on "Gilbert Arenas" he has this crazy wordplay where he says, âI be with my daughter teaching her ABCs, I got racks but they didnât come from no EDD or no PPP, it was all on me, now we eatin like EBT.â, NASA BO is flexing on the beat. He has an undeniable talent. And it shows all throughout the album.
TULSA LINES FAVORITE TRACKS
When it comes to our favorite tracks, âGet Downâ definitely is extra sauced up with the sample of Earth, Wind & Fireâs track âReasonsâ. In this track NASA BO gives all the reasons why niggas can get down. And them 808âs by ADHD makes each bar hit harder. This a hit. "SAUCEMEUPBO" is another one of them ones that just goes. "Heart Breaker" for the reasons starred earlier. Another one is âStuck N Loveâ because it has so many bars. Lastly, âDoe Partyâ, this is a straight to radio hit. This is a track that youâre gonna hear in the club. IT'S IS A STRIP CLUB ANTHEM! Like he said, "That nigga snappin'," So as you can see itâs hard to pick just one track. Thereâs just so many hits on this album which says a lot for a 20-track project. NASA BO did his job.
So, there you have it. The album Mr. Universe by NASA BO, and executive produced by SAUCEMEUPGQ. This isnât an Oklahoma City album. This is an album that can penetrate any market. New York, L.A., Atlanta, Detroit. It doesnât matter. NASA BO has what it takes to get to that next level. The album is literally out of here. And next year we wouldnât be surprised if NASA BO is out of here with it.
THE VERDICT
JAM IT!
Also make sure you follow NASA BO on social media: Instagram: @nasa_bo405 YouTube: NASA BO Spotify: NASA BO Also listen to Mr. Universe by NASA BO below: The evolution of music is undeniable. Just look at this past Grammyâs and the fierce competition for Best Dance/Electronic Album. This can be attributed in a huge part to the Pandemic that kept us all inside, so itâs no wonder that now genres like Techno, Electronic, and House music have made a had a huge impact on pop culture. From Beyonceâs new album "Rennaissance" to Drakeâs album âHonestly Nevermindâ. This category of music is feeling the effects of a market being saturated due to a high demand. But the great thing about music is that the true fans can see through the bandwagoneers, and the real music, from the real artists, is usually the only thing that lasts. AP=Chem is one of the real bands that is looking to take their music all across the world and show why their true creators in this space and not just another band looking to ride the wave. Their looking to shock the world with new album Imed=2. AP=Chem is a collective of two collaborating songwriters from Oklahoma City. Anthony Mahon, who also was in the band "The Gentle Art of Floating". And Eric Gorman, who also was a band member of "The Gentle Art of Floating" and also the band "Trap Queen". They describe their music as Inexplicable Modern Existential Dread. They have released multiple singles as well as the 2021 EP "Imed=1 Inexplicable Modern Existential Dread" and their now follow "EP Imed=2". The first track off the album is called "Please Donât Make A Dance Song (Out of My Plane Crash)", which is really ironic. This 70s infused high energy track just takes over. Itâs like looking thru a TV cycling through 70s themed shows and commercials. Back when you could take drugs on a plane and be a part of the mile high club. The clashing of the sounds dance unapologetically in the listener's mind. How can you not dance to this? Throughout the you hear a voice that is seems to be a flight stewardess. Her fragmented voice layers on top of the beat. But near the end another voice comes, this time a male voice that seems to be an air traffic controller that guides the listener through the freeform nosedive of synthesizers and piano chords and crashes right into track 2.
Track 2 is called "Forensic Homicide". The track starts with an ominous bass guitar that blares through the speaker followed by the resting piano keys. But itâs the eclectic guitar that then pulling you as if cupid himself were playing. And it's the drums that let you know that your heart is still beating. It really gives off this forbidden love type of feel. Just listening to the track your mind elopes with the beat not caring of time nor space. This feeling grows as the infactuated crooner sings, âDisappear tonight, weâre never coming back here". The listener then rides the guitar cruising through the rest of the track. Forensic Homicide is a highpoint of the album.
By the time we get to track 3 "House Not Home" we are at the mid-point of the album. The track has this dark inviting feel to it. It plays out like the part right before the killer is about to make his move. The vocals tuck tightly behind the beat as support rather than the main ingredient. They go in and out leaving enough room and suspense that you have question will it return? This track highlights their songwriting abilities with a more lyric song structure. Thereâs a lot of ironic bars in this track for instance; âItâs a big house, off the interstate, a nice neighborhood, with an iron gateâ. I just think thereâs a lot of irony in having a big house that no one can see because itâs in this secluded area and neighborhoods are usually inviting but an iron gate suggests this one isnât. But maybe that's also meant by House Not Home.
The 4th track on the album is "Tyrel Slide". The track brings the energy of the album back up. Itâs pounding bass and synthesizers draw you in. The beat is beautifully layered which creates these special moments in the track. The elongated piano notes create these paths that the synthesizers can then go and roam, while the drums are like the barriers that keeps everything inbounds. The track takes you on a quest. I can imagine a montage of a hero training or the long journey the hero has to take before he gets to the boss at the end of the story. The track is short but that is also the beauty in it. Knowing itâs short means you appreciate it that much more.
The last track on the album is "Penny Dreadful". This is the finale, with that comes a combination of where weâve come and also how far we still have to go. Maybe a Imed=3âŠ? Penny Dreadful has this diabolical feeling to it. Thereâs a voice that layers on top of the instruments that sounds like an archeologist journaling his most recent discovery. Which would be this EP. Again a montage of a scientist doing calculations and writing down theories comes to mind. The hard-hitting drums keep the thoughts organized as the synthesizer's loop around the harmonized organs. This is how you want to end an album.
There you have it. AP=Chem's latest EP Imed=2. Here are some facts about the EP. There are 5 songs with a total playback time of 23 minutes and 49 seconds. The shortest song on the album Tyrel Slide comes in at 2 minutes and 42 seconds. My favorite track on the EP is Forensic Homicide, itâs just a vibe and kind of tugs at the heart strings, also Valentineâs Day is around the corner so this would be a good theme song. What I liked most about the EP is that it took you through highs and lows. Thatâs what a great album does. Itâs able to be played through the highs and lows of life. All-in-all I think AP=Chem did what they set out to do create inexplicable music in these modern times of existential dread. And who knows. Hopefully there will be a Imed=3.
Make sure you stream the EP Imed=2 from AP=Chem and let us know what you think. Make sure you follow AP=Chem on their social media: Instagram: @apchemband Facebook: AP=Chem Spotify: AP=Chem YouTube: AP=Chem BandCamp: AP=Chem SoundCloud: AP=Chem âComing off the high of being a part of the historic album that was F.I.L.A. (Fire in Little Africa). What else would an artist have to prove? For Creo Cash it would be nothing. But at the same time that high can only last for so long before fans start to wonder whatâs next. The gap between new music seems to get larger and larger especially when an artist is uninspired and also second-guessing his moves. Sometimes an artist has to just get out of their own heads. This is exactly what Creo Cash is doing with the release of his new EP called âMore Than an Artistâ. We supposed to be rich. Itâs more than just a dope line or lyric from track 1 âBorn Richâ. Itâs actually something Creo Cash spoke about at his EP release party, and the fact that this line was was more that just a hot line, it was true. That's because he is actually a descendant of business owners who had their businesses burned down by the 1921 Black Wall Street Massacre. He wasnât just rapping on F.I.L.A. He was actually going for what was stolen from his family. But back to the track âBorn Richâ. The first thing you hear is that flute. It sets the stage for Creo Cash to talk his shit. Itâs a high energy track where Creo Cash showcases his talent with melodic flows and some dope bars like this one, âBye, bye, bye, Iâm NâSync with the cheeses.â Itâs one of the best tracks on the project.
Track 2 is called Havanna and features the one-two punch that was Blaxcdanna Mafia whose members were Creo Cash alongside Foolie Foolie. The two are still tight as ever and still frequently collab including on Havanna. The track starts out with a skit from Next Friday where Uncle Elroy brags about being able to roll blunts tighter than Havanna women. Anyone familiar with the duoâs music knows that stoner rap is an easy lane for the two rap in. Itâs a fun track that feels like you chillin with the homie and yaâll reminiscing about all the hoes and weed and drank, just shootin the shit. Foolie Foolie is a great talent that has some dope lines on here and has lots of versatility as shown when he switches flows multiple times. Hereâs one example; âMedicinal smoke overlookin' the mountains, she drivinâ the boat, she gonna fuck around and drown itâ. You can tell the two have collabed before and each are comfortable being on the track together they seem to almost balance each other out.
Track 3 is Sticky. Cause you know how sticky it get. Or in Creo Cashâs version âSticky situation, yea bitch we gotta problem.â. Creo Cash is in his bag on this track. He jumps from sticky situation to sticky situation. whether thatâs how to deal with your woman or a side piece, to how to deal with haters. You can get lost in the melodic flow without even realizing that the track is filled with so many quotables, âkeep a 10 and 42 like Jackie Robinsonâ. In the words of the late Virgil Abloh âLike, we weren't supposed to come up with something this clean. Like something happenedâ. Sticky is so clean of a track that it seems too easy for Creo Cash to crank this one out. But then again looking closer thereâs so many technical bars and the way that they are perfectly structured to set up the next bar is something you gotta appreciate. Cause again heâs good. And being good makes everything you do seem easy.
Wishy Washy is the next track on the album. The beat seems to pay homage to Lil Wayneâs the Block is Hot with some of the same notable sounds in the beat and that up-tempo New Orleans bounce. Creo Cash is adamant about people picking a side and standing on it. The track drills the point home that there is no room for people playing both sides. I gotta shout out this line that pays homage to 2Pac and at the same time Creo Cash puts his own spin on the line. "No killa but donât push me cause ur dead homies gonna have company." It sounds like rapping in the trenches. â
The 2nd to last track on the project is âNo Jewelryâ. The track features Fr3sh who uses auto-tune heavily throughout his verse. Fr3sh has some highlights on the track and shows his versatility as he switches up his flow numerous times. His influence on the track is so heavy that it almost feels like his. I feel like there are parts of the song that are a little too laid back. On Creo Cashâs verse it feels like he turns it on and turns it off. Itâs like seeing an artist jogging down the court and not getting back on defense. There are times where his flow seems lackadaisical. Then thereâs these dope bars that seem like a slam dunk. Like this bar. âGot it out the mud without a mugshot. Wat!!â I just wanted to see him turn it on and keep it on.
The last track on the EP is Time Goes By. The track is more of a slower reflective track where Creo Cash pulls from all his talents, singing, rapping, and songwriting. He effortlessly is able go into singing and then switch to rapping, multiple times throughout the track you hear him doing this balancing act without ever stumbling. Again, this track has so many quotable bars like this one, âTo add to my pockets, I'm subtractinâ from yo digits.â. Time Goes By is a high point to end the project on.
So there you have it. The EP âMore Than an Artistâ by Creo Cash. Itâs important to go thru some of the facts about the album. The album is 6 songs with a total playtime of 15 mins and 33 seconds, which is just long enough to listen to on any ride through Tulsa. All the tracks on the EP were produced by 2Peece who was able to blend different sounds that contributed to the cohesiveness of the project. There are 3 featured artists on the project Foolie Foolie, CoWhan, and Fr3sh. My favorite track on the album is âBorn Richâ, itâs a high energy track with all the ingredients of a hit. My least favorite track is âNo Jewelryâ, not to say this canât catch on and be a hit, it just wasnât for me. But overall, I think âMore Than an Artistâ is a dope project with great songwriting and quotable bars. Itâs great to hear Creo Cash back in the studio making music, and I look forward to hearing more.
Make sure you go stream Creo Cash's new project More Than an Artist now streaming everywhere! Also make sure you follow Creo Cash on all social media: Instagram: @callmecreo Twitter: @CashCreo Apple Music: Creo Cash Spotify:Creo Cash YouTube: Creo Cash
Gangsta Grillz, you bastards. If you’re a fan of DJ Drama’s Gangsta Grillz albums, then you’ve heard this line many of times. DJ Drama has created a classic mixtape series called Gangsta Grillz that some of the biggest artists in the industry have used to either launch their careers (such as Young Jeezy) or helped reinvent themselves (such as the mixtape Weezy aka Lil Wayne). But what about an artist from Oklahoma? Wait. That can’t happen. But one thing the Pandemic has taught me is that Hennything is possible (you read that right). And it did. With one of the most talented artists in Oklahoma Ayilla. And it was on December 16th that the world was introduced to Ayilla and her Gangsta Grillz “Kill Us Both”.
She is K.O. This isn’t only a social media handle. It’s also the perfect phrase that describes the artist from Enid Oklahoma who has been nothing short of a knockout. From her style to, to her music, to her street marketing. Since her first record, she’s truly kept the game on the ropes while she has dropped hit after hit. All the while parrying from the snakes and the fake drama that artists use nowadays for clout. And it's with her latest release Sincerely that K.O. is truly showing the world how being genuine is enough to take you to the top of the game. And do it without compromising yourself and most importantly, your art. Let’s check out Sincerely from K.O.!
Guerrilla Warfare. If your familiar with the term, then you know that it is all about non-military civilians who take up arms to fight against larger traditional military. OTS J Huncho named his first album Guerrilla Warfare, and it was all too fitting. The way he seemed to come out of nowhere and drop a tape that spread like wildfire. It was very much like a militia that he was creating, as his fanbase and supporters grew, so did his legend. The one who is determined to put The Hills on the map. And he’s looking to again use his Guerrilla Warfare tactics with the second installment called “Guerrilla Warfare 2”.
"I Had A Rocafella Dream, Letting Niggas Know That I’m Here, Then I Woke Up Grateful, On a Sunday Morning, The Next Day Was Memorial Day, It Had Me Feeling Down, So I Recorded Local Nigga, I Felt Better Manifesting a Vibe, No Amount of Money Can Dictate What We Create, We’re Both Artists Baby."
These sentences are taken directly from the tracklist of Chris “The God MC” Cain’s new project called “Arrived: Now That I’m Here”. A 10-track album that is the follow up to his album “Arrived” that dropped in 2020. And if you have ever listened to a Chris “The God MC” Cain album that you that everything that he does when it comes to making music is intentional.
The Hope. Also known as Gang51E June. If you’re really a day one fan then you really know it is pronounced GangTie June. But day one fan or not, what isn’t to be confused is his position as the hottest artist in the state. It’s undeniable that he has the crown. His popularity has only grown during the Pandemic as seen on his YouTube page that shows the millions of views that grow each day, which he was able to create with the help of fellow Tulsa native vidographer King Spencer.
Hibachi!!!! Not the grill but the greeting used by Tulsa artist Shyheim Nwadiei. The self-proclaimed “Shy Guy From The Northside” burst onto the scene with the release of his first project “Shy Guy: The Midwest Masquerade”. But if you listened to any of his music than you know that when he raps, he’s anything but shy. He’s got bars. He’s got a crazy delivery. And a flow that is sure to have you tongue-tied when trying to recite his lyrics. There’s no doubting his gift. And it’s these same characteristics that helped him land a spot on of the The Fire In Little Africa project, the most influential albums to ever come out of Tulsa. A project that featured over 60 artists was a space where Shyheim was able to shine and show why he was picked for this once in a lifetime project. The Fire In Little Africa project isn’t the only thing that Shyheim accomplished this year because the whole time he was working on his own project. Something that would further push him to his calling. An album, “Calls of the North Wind”. An album we will deep dive into. But first let’s understand just what the word Hibachi means. |
About Author
|