There are few artists like ThunderWof. Naw, I take that back: there are truly no artists like ThunderWof. He's the very definition of multi-talented and unapologetically himself. He doesn’t get caught up in trends, and he doesn’t need a gimmick to market himself. Everything he does is inherently who he is. But that doesn't mean he's not a student of the game. Just one conversation with him and you’ll see, his musical knowledge runs deep and within his music you may hear shades of André 3000 or the unapologetic delivery of Kanye. ThunderWof. grew up on horses, and that’s one thing his last album “Boys Don't Cry But, Wofs Shed Tears”, taught us. Now he’s back, and this time he’s sharing his love for birds with the release of his latest project alongside dj nonmae., titled “The Birds and The Beats”. ThunderWof. is a Tulsa rapper and comedian. You may remember him (a.k.a. “Ronnie RedRanger”) from our interview in the “5 On It” interview (check it out here). Since then, he has combined these talents to operate under a single name: ThunderWof. The artist behind the track that invited "Beef" has now teamed up with legendary Tulsa producer dj noname.. They share more than the period at the end of their names, they truly share the love for music. Over the past year, the duo has built a rapport and an almost tag-team-like bond that proves neither is afraid to share the spotlight. dj noname.’s track record of creating timeless musical compositions makes ThunderWof.’s uncanny bars and delivery feel like a welcome challenge for a producer with over 90 releases under his belt. Let’s see just how many birds you can spot in their new project, “The Birds and The Beats”. The Birds and The Beats is a 10-track project that is true to the essence of a collaboration tape in the sense that it’s just them, no features. One producer and one rapper locked in on creating a project, no better yet, creating art. An interesting fact about this project is that it was recorded at Church Studio. Anyone who’s ever stepped foot in there knows not only the history of some of the greatest musicians; icons like Woody Nelson, to Stevie Wonder, even Uncle Charlie Wilson and The Gap Band have recorded there. They also have witnessed the grandiose of it, it’s truly the big leagues when you think about recording studios. The huge recording rooms are equipped with music boards, microphones, mixers, and equalizers. They also include instruments like guitars, pianos, drums, and any other instrument you might need. The equipment alone is worth its weight in gold. The fact that this tape was recorded there and used some of the historical equipment like David Bowie’s microphone, I might add, means that this isn’t just an ordinary tape. As ThunderWof put it, “..this is Ornithology”. "Momma I think I made it,
The project’s opening track, "Show Off," is a straight jab of bars. From the very first line, ThunderWof. comes out swinging. He's clearly on the offensive, wasting no time knocking the beat into a carefree, laid-back vibe. It’s here that we get our first lesson in the subtlety of his pen: teaching us lessons while we’re bobbing our heads. “I'm something like a Southern Screamer,” he raps. Some might hear that bar and just think it sounds cool, but a little research reveals that a Southern Screamer is a bulky water bird native to South America; this is just one of 18 bird references sprinkled throughout the tape. What’s also on display in this first track are subtle shout-outs to local legends like dj noname., DJ $ir Mike, and Evan Hughes. I’ve always felt that to get a shout-out on a track is to live forever.
Another element I really enjoy about dj noname.'s production is that every track feels like a murder mystery: the rapper kills the beat, while dj noname. leaves easter egg clues that are just enough of the original sample that the listener can then use to track down where it came from. It makes you feel like you’re right there digging through the crates with him. "Show Off" samples “Turn Around You Fool” by The Ponderosa Twins Plus One; it’s the kind of flip that pays homage to the original soul record while making the listener want to also listen to the actual original track. To know a dj noname. track is to know a true love for music. I have to admit, I wasn't ready for the next track on the album, "Freaky Feathers." The title alone should have given me a clue: the birds get dirty too, as ThunderWof. takes the concept of the "birds and the bees" to the next level. Speaking of levels, dj noname.'s production here reminds me of '90s Nintendo games when you reach the boss stage and that intense, high-stakes music kicks in. ThunderWof.'s repeated echoes of "Baby" ring in your ears like the minions you have to fight through while the boss watches from the shadows. The bars get seriously provocative, like when he drops, “Use my mouth as a baby carriage.” And he doesn't stop there; he seamlessly weaves the avian theme into the bedroom antics with lines like, “One leg up, ya just like flamingo,” and, “Baby, shake your feather like a cockatoo.” The song has playful, flirty undertones that set the stage for his experimental language (“choking,” “spitting”), leaving you wondering if ThunderWof. is operating on a whole different level of freaky. "I'm giving you birds over the beats this is orathology.”
I remember hearing “UPS Is Hiring” live and thinking the story he told about it’s origins alone was gold. ThunderWof. started off by recounting how his father would always tell him UPS was hiring, just in case rap or comedy didn’t work out. Fast forward to the present day, and ThunderWof. is giving that exact same advice to rappers who need to go grab a day job. The beat carries a slow, soothing vibe that sweeps you off your feet, with the help of dj noname., who samples René & Angela’s hit single "My First Love" (which you might also recognize from Avant and KeKe Wyatt’s iconic remake). ThunderWof.’s delivery is smooth as he slides across the track, lacing it with what can only be described as a full flock of bars. He poses a crucial question: “How many bird bars do you got?” And then answers it himself: “It’s more than a fowl amount.”
This track is practically flocking with bird references. Sometimes they’re subtle, like the "fowl" line, while other times they hit you right in the face: “If the boy keep on quacking, we’ll have him ducked off like he’s O.J. Simpson,” or, “Behind every bar is a bird, like an aviary.” (An aviary is a large cage for birds) Stop playing with ThunderWof.’s pen! The track has so many moments where the beat and the bars align perfectly; time after time, I found myself wanting to pull out a pen and quote a line. You really have to hear every bird bar for yourself. Not every track on an album can be a high point, and that’s where I land with “The Eulogy.” The beat carries an early ’90s Native Tongues vibe, reminiscent of A Tribe Called Quest or De La Soul. Where the song falls short, however, is in the vocal performance. It’s a track that demands a vocalist with a broader range to lay down richer melodic undertones. As it stands, it feels more like a reference track that could have found firmer footing with a stronger singer. That said, Michael Jackson oddly came to mind when listening to ThunderWof.’s serenading delivery—couple that with a direct nod to New Edition’s "Mr. Telephone Man," and it makes for an intriguing moment. ThunderWof. calls out to a lady named Antoinette, whom it sounds like he's lost touch with: “I'm crying to my flying friends.” But just when you think you have the track figured out, your ears perk up as the codeine haze sets in and a chopped & screwed version of ThunderWof. takes over: “August 10th, damn what a day , I woke up in love, fell asleep in heartbreak.” This is proof that birds really do fly south for the winter. Even deep within this slowed-down monologue, ThunderWof. continues to drop avian wordplay. One line that particularly stuck with me: “Every melody sounds like a memory.” Ultimately, even if “The Eulogy” experiences a turbulent takeoff, it lands beautifully through its use of imagery and culture. By the time we hit the halfway mark, you realize we’ve navigated a full spectrum of emotion, but more importantly, a relentless flock of bird bars. Track 5, “Backyard Concerts,” functions like an interlude, reading like a thank-you note to the birds themselves: “Thank God for the Blue Jays that erase my blue days.” In a sense, ThunderWof. needs the beats and the birds just as much as they need him. It’s a reminder that not every love letter needs to be an Odessey. At just 1 minute and 7 seconds, it’s the shortest song on the project, but it still delivers its point and lands beautifully: “They say the best concerts are usually free, My backyard, it sounds like a symphony.” The beat on “Birds on the Line” has a busyness to it that feels heavily influenced by Japanese mod bands. Combine that upbeat energy with ThunderWof.’s nonchalant delivery, and it makes for a surprisingly sonically pleasing track. The song really showcases his storytelling ability through songwriting as he takes us on an expressive flight: “I’ve got sparrows singing sad songs on my windowsill, reminding me life’s real.” It dives into deep topics like choosing a career over family, losing loved ones, and showing up for people both when they need you and when you need them most. The bars on this track hit with raw honesty. ThurnderWof. gets personal in a way I've never truly heard from him before. Powerful lines echo throughout the song, like, “You ever see your mother lose a universe?” and, “I pray my mother never gives me back to Mother Earth.” At times, the track plays like an exploration of survivor’s remorse as he reminisces on the losses and shifts in his life or, in his words, “Life’s a big migration.” On “Birds on the Line,” we get a deeper, far more vulnerable side of ThunderWof. “2 Minute Drill”, no, this isn’t the “7 Minute Drill” that was later deleted by J. Cole, but it carries all the tension that makes an artist wonder how the industry will react once it drops. The beat has a dark, "Shook Ones" feel that ThunderWof. jumps on, proceeding to rap in a way that taunts any challenger while declaring it's Turley/North Tulsa versus everybody, as if it were tatted on his chest. But not to be taken too seriously, he drops a hilarious line about being mistaken for country star Shaboozey. I love the different elements at play here, like the call-and-response conversation he has with himself addressing rumors and answering questions head-on. Then comes a dope transition into a "Turley" chant, backed by heavy-hitting bars and topped off with this unapologetic 4-bar declaration: “I’m a Northsider, 59er, early Turley resider, I won’t stop loving Turley till my heart retires.” It’s a beautifully executed song, especially given its ominous feel. It's also probably safe to say that ThunderWof. is the only rapper operating at the unique cross-section of sports bars and bird bars. Next, we get into the track "Patriots Stand Up" The track opens with a heavy saxophone line that carries the weight of ThunderWof.’s revolutionary bars. What’s interesting about this song is the social commentary of the bars, more specifically how he uses symbolism by showing how the very birds celebrated as national and state emblems, like the bald eagle and Oklahoma’s own scissor-tailed flycatcher—can also symbolize corruption and sinister acts against the people they claim to represent. I also love how he calls out the mass incarceration of women in Oklahoma and the lack of resources for women; these are critical issues that rarely get the spotlight. Alongside that is the clever political commentary mocking the nation's two longest-feuding "gangs": the Demicrips and Rebloodicans. There’s so much weight in each bar. But as the track closes, a high-pitched voice brilliantly recites a modern adaptation of Gil Scott-Heron’s iconic poem "Whitey On the Moon," tweaking the refrains to target Elon Musk's space ambition: "Whitey on Mars." The saxophone shines in this final movement, driving home the sobering reality that history might just repeat itself on a whole new planet. You’ve probably heard the old saying: If you can't run with the big dogs, stay on the porch. Well, ThunderWof. flips that on its head with "No Big Dawgs," making it clear that big dogs can't run with the Wolves up North. The track is an unapologetic statement of dominance where he flexes his lifestyle over the competition: "The bank account looking like a rock show, It’s just band, after band, after band." I also loved the triple entendre on the line "I'm just keeping it a bill"—playing on money (a hundred-dollar bill), keeping it factual (keeping it 100), and a duck's bill. The track serves as a sobering comparison between his reality and his haters' illusion, where he's living his best life while they're living their best lie. Also accompanying the song is a music video that stands out as a compelling piece of art, serving as part of a larger mini movie that connects the project's tracklist while featuring appearances from Tulsa legend Playya 1000 and local figure Evan Hughes. Head over to watch the video and hear for yourself what makes this cut hit so heavy. It’s been a wild ride, but we’ve reached the finale with "I’m An Uncle." There's something magical about the flute on this track; it's as if producer dj noname. tracked down André 3000 and told him to be as free as the bars on this track. With a generational shift of people opting out of parenthood due to high living costs, ThunderWof. enters a reflective headspace, contrasting his bachelor lifestyle with his friends who are stepping into fatherhood: "I raise a blunt, while he raise a child." Yet, despite enjoying the single life, he makes a point to express genuine pride in watching his homies' families grow. In the second verse, the focus shifts toward life lessons, like recalling his father’s passed-down wisdom that the ground will always catch you when you fall. But the true genius of the track lies in its abrupt final bar. ThunderWof. spits, "Thank God for the birds," follows it with "Thank God for the..." and suddenly cuts off, leaving only the beat to play out. It’s a brilliant, Sopranos-style fade-to-black moment, bringing an end to what was bird watching at its finest. To say I liked The Birds and The Beats would be an understatement. It's a remarkably cohesive concept album that hits every mark of a great record, driven by amazing composition from dj noname. and top-tier lyrical skill from ThunderWolf. The project actually had me Googling birds. More importantly, the bars were witty, he didn't just simply name birds, he seamlessly intertwined avian themes directly into the lyrics and imagery. Fun fact: There are supposedly 18 different birds referenced across the project, and I challenge you to find them all. One eye opening for me is that I might have even discovered a newfound passion for birdwatching. After listening to this tape, I'll probably find myself staring at the powerlines wondering what kind of bird is sitting up there or identifying the one waking me up on Saturday mornings. Either way, spin The Birds and The Beats for yourself and let me know what you think! The tape is exclusively available on BandCamp here. Also make sure you follow both dj noname. and ThunderWof. on Instagram: dj noname. Instagram: @nosamyrag ThunderWof. Instagram: @apache_thunderwof_18 Also watch all the videos for "Show Off.", "UPS is Hiring", "No Big Dawgs", and "2 Minute Drill" on ThunderWof.'s YouTube channel: @ThunderWof.
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Pass The Aux! It's one of the dopest events in Oklahoma, that brings together not only artists from across the state, but even some traveling from as far as Atlanta for the unique opportunity to play their music in front of industry tastemakers, multi-platinum producers, and, of course, their competition. What's the competition? "26 artists locked in, playing their music in a battle royale style competition hosted by The OAKA and presented by The Criterion, which brought out hip-hop and R&B artists all battling to take home the coveted "King of The Aux" title.
Jiondé is an Oklahoma City artist with multiple projects under his belt, including Pressing Forward and Bittersweet. Through his ability to craft musical time capsules, it's clear that music is a deep-rooted passion, one that runs in the family. He happens to be the cousin of fellow Oklahoma City artist 2ndChancesimpkins, whom listeners may remember from his hit single "Raunchy." Jiondé builds on that musical legacy with a distinct catalog that blends raw introspection with heavy-hitting club bangers. But you may be asking, how exactly did he pull off the win for "King of The Aux"? To answer that, let’s dive into his latest project, INTIMATE ENEMIES, and see why he earned the crown. The 9-track project proves that quality triumphs over quantity. Clocking in at just under 22 minutes, INTIMATE ENEMIES covers a wide spectrum of topics while showing off sharp craftsmanship and meticulous attention to detail. The album cover, of a bouquet of flowers in a vase set against a muted gray background, is a striking image. Perhaps it represents an artist ready to offer his growth to the world. Or maybe an artist that's blooming in a world that was meant to mute his colors. Either way, the music blooms in the listener's ear much like those very flowers. On the opening track, "WAKE N BAKE," Jiondé sets the tone by putting all his cards on the table, instantly flexing his versatility and songwriting chops. He seamlessly switches his flow multiple times, weaving syllable-packed bars into a serenading chorus. What makes the track so intriguing is his use of a clever metaphor: framing his lover as his essential morning smoke session. Another highlight is the chant-like four-bar refrain that locks in the groove: "She the truth, yeah, yeah, yeah."
The second track, "KEISHAS AND TAMICAS," grabs you with an intriguing title, because let's be real, we all know a few Keishas and Tamicas. Almost immediately, the hard-hitting bass catches your attention, evoking the nostalgia of a school lunch table where kids beatboxed and banged pens on desk surfaces. That percussion lays the foundation for Jiondé to drop some heavy, introspective lines: "And some people just like weather, only good for a season." His delivery carries shades of early Lupe Fiasco and at times conscious, at times deeply contemplative, but always distinctly his own. Jiondé pairs his unique perspective with the natural flair of a seasoned wordsmith. Another bar that demands a rewind is when he spits, "And I got the kind of flow that make an ex want a redo." I found myself pulling the track back multiple times to catch every word, and is a hallmark of great songwriting, best captured when he reflects, "Because love don't happen easily, it comes with a cost, You gambled your mind, and your soul's what you lost, Everybody got a debt to pay."
Just when you think you know Jiondé, and just when you try to box the project in as "another conscious album", he throws a complete curveball with "ASSXIETY." The track is a total 180 from "KEISHAS AND TAMICAS," shifting instantly from righteousness to ratchetness while showcasing the messy duality of the human experience. Jiondé kicks off the song by pointing out the root cause of his condition: Instagram. We all know the unprovoked ass that pops up on the feed, and Jiondé may have finally coined the definitive term for the phenomenon. The chorus carries a playful, animated energy that sets a fun, unserious tone for the track. Even the track's title, which is a witty play on the word "anxiety," lives up to its name as Jiondé drops vividly descriptive bars charting the symptoms of his self-diagnosis. Lines like "I see her ass, even in my dreams, I love a baddie from OKC,", "Her cake got me lost like a coked-up fiend," and "Her ass in charge, authority, It claps and sings like 'Do-Re-Mi'" lets you know that Jiondé is fully aware of his affliction and more than willing to face it head-on.
You know the sample the second you hear it. Listen closely to "PERFECT HARMONY," and you'll find yourself humming Alicia Keys' "You Don't Know My Name", which sets the perfect stage as Jiondé spits his best game to woo a woman he just met: "I got visions of our vibe in perfect harmony." The track features a powerful chorus where every syllable hits right in sync with the hard-striking 808s, leading into a catchy bridge that ties the whole song together. It even invites the listener into a moment of call-and-response: "Nigga don't you know, that you too broke to be chasing ass?" While the track hits, I would've loved to see Jiondé dive deeper into the pursuit by grounding his lines in richer metaphors and vivid imagery rather than leaning into a delivery that occasionally feels a bit too straightforward and nonchalant for someone trying to win over a dream girl. Still, those direct lines yield some wins, like when he drops: "Let your man know it's the small things, the small things. Not the gift, but what the card say." That’s exactly what someone being pursued wants to hear. But ultimately, since it is a shorter track, I just left wanting a few more of those stand-out, memorable lines.
When it comes to "CROSSFADED," this is another track that didn't quite land for me, though listeners should still give it a spin to judge for themselves. I could see the vision, but I caught myself wanting deeper lyricism and richer imagery. By the end of the first verse, the competing sounds felt a bit overstimulating. While the track has the foundation to be a smooth vibe, a few lines felt a forced, like when he raps, "Girl, you keep it classy, so yeah, I call you Sexy Blue." It’s not a dealbreaker, but it’s an area for growth when crafting tracks with this kind of sonic direction. It's also a cut where bringing in a female vocalist could have added a welcome layer of dynamic range. But give it a listen and let me know your thoughts.
There’s an immediate moment of redemption, and it arrives with "PRETTY EYES." The track had me feeling like Will Smith in Bad Boys: "Now that's how you're supposed to rap! From now on, you rap like that!" In just the first 40 seconds, Jiondé revives my enthusiasm for the project with a deliberate flow that commands your attention. His rhythmic bars hit like bold, internal declarations and percussive sound, imitate the hard-hitting snare, as he effortlessly navigates each bar. One line stuck out, is the tongue-twister, inception-like bar: "Hurt people hurt people, hurt people is me." You have to sit with that line for a second before it fully hits, it's a meticulously crafted bar that could easily get overlooked because of the smooth, hypnotic delivery. This also brings back the vivid imagery in lines like, "Girl, just get away, because the pain was so great, I got more than a scrape, I got cuts to the ground, now I'm laying with the snakes." This is the level of writing I knew Jiondé was capable of and missed on the prior two tracks. Because as we know in this game, there are no days off, and for an artist, there's certainly no tracks off.
I swear I can hear someone in the background yell "OK Drums!" as the drums come in on "IMMA DIE A MAN", which kicks off with a smooth Neo-Soul vibe. It's calm and intimate, yet Jiondé brings a commanding presence that makes his declarations about love feel set in stone. The chorus echoes these sentiments, exploring a side of romance rarely addressed in rap: love through forgiveness, love through restraint (like ignoring the urge to text a bad bitch), and love expressed every time he puts pen to paper. Words hold the power to spark wars and break hearts, and Jiondé proves the inverse is just as true, that words can be an act of love. The verses are equally packed with substance, featuring standout lines that anchor his thesis, such as "Real niggas are in high demand" and "I wanna spend quality time with every flaw and every blemish." A deeper listen to the second verse reveals even more vivid storytelling, with gems like, "Damn, I know your pain, my brother, Still no need for rage this summer." And just before that sits a clever line I caught on my second play-through: "I'm Shai Gil, I'm smooth with the mic", is subtle, flex bar to OKC Thunder superstar. As you can tell from the sheer volume of quotes I jotted down, that I really like this track. It's sonically rich with high replay value, capped off by a vulnerable moment at the end where his voice softens right alongside the fading beat.
When we get to "CALL LOG," the title alone hints that you're in for some history, and you'd be right. Jiondé takes us on a nostalgic journey, recounting memories of meeting a lady at a local staple, Braum's, before bringing us back to the present day to only a trail of past calls which is all that's left of someone who doesn't ring anymore. This is one of those moments where I would've loved to see Jiondé delegate rather than carry the full weight, by bringing in a featured vocalist who could have driven the emotional core home with a bit vocal range to communicate this heavy passion. In the second verse, I wanted more emphasis on bars and perhaps a few delivery changes. At times, he gets slightly boxed in by his own rhyme scheme and could've let the story guide the rhythm of the track more. "need me, squeaky, creeping, cheating, repeat, be me", this is where loosening the pattern or switching to a more traditional scheme might have let the storytelling dictate the rhythm. Still, the ending helps land the concept beautifully with a voicemail from a the woman in his call log, "This is my form of closure." Overall, it's a solid, high-concept track—with just a few tweaks needed to make it really hit with the way it intended to. I’d love to hear your take on this one. Drop a comment and let me know.
The project's closing track, "LIL LOVEBIRDS," could easily be retitled "I Love the '90s." The record transports you straight back to the golden era, where the heavy boom-bap bounce had everyone’s head bobbing, from the production style, down to Jiondé’s pocket and cadence. Jiondé’s drops what can best be described as feel-good raps: "This feels like mama's banana pudding with the Cool Whip." The track has some great lines, one that really proves that Jiondé is a true student of the game, is when he raps, "I be thinking about life after I'm dead sometimes." It's a slick nod to Biggie’s classic album Life After Death, which was a 90s classic album. If sounds had colors, this track would paint in the vibrant red, green, black, and yellow palettes that defined '90s hip-hop fashion and culture. The chorus sets the vibe with an easily repeatable "Straight up!" another troupe used to convey the sounds of the 90s era. LIL LOVEBIRDS is packed with vivid imagery, best highlighted when he spits: "When I get my moment, you can't pay me to choke, I'm the sickest, bitch, my pen is painted GOAT." I think this track stands as one of the absolute strongest tracks on the tape and has the potential to be a Jiondé's breakout radio hit. Drop your thoughts below!
So there you have it, INTIMATE ENEMIES, a sonically rich project powered by clear standouts like "KEISHAS AND TAMICAS," "ASSXIETY," "IMMA DIE A MAN," and "LIL LOVEBIRDS." While tracks like "CROSSFADED" and "PERFECT HARMONY" leave room for growth, they simply show the potential of an artist who still has so much more to give. Overall, the project comes together as a cohesive, compelling piece of art. One day, we might have to ask Jiondé about his intentional use of all-caps throughout the tracklist and album title. In typography, all-caps is often interpreted as shouting. While in certain linguistic contexts, it's cap or lying. Here, neither feels true, it reads like an emphasis. Whatever the reason, one thing is certain. We hear Jiondé loud and clear. This is why he's "King Of The Aux".
I think that the album is dope and I would encourage you listen to INTIMATE ENEMIES. for yourself. Plus it's streaming everywhere! Make sure you follow Jiondé on social media: Instagram: @jiondae_ YouTube: Jiondé Spotify: Jiondé Apple Music: Jiondé 
As an artist I’ve always wondered what famous people did with the art they didn't release to the world. What if Michael Jackson had a better album than Thriller? What if Lauren Hill had a better album than The Miseducation? Jay-Z doesn't write, instead everything comes off the top of the dome. Believe me he has too many great verses to just pick one. But what if he had a better verse that he forgot? These questions do linger, but luckily Steph Simon has answered this question with the release of his new project called "Lost Gems".
Steph Simon is a hip-hop artist from Tulsa, Oklahoma that has continued to push the culture forward in ways that many would've considered crazy as an idea, he has always had the knack to make those ideas a reality. From throwing the biggest hip-hop festival in the Southwest called DreamLand Festival, to helping 50-plus artists be signed to the prestigious MoTown Records, to creating a hip-hop course curriculum that allows him to work with younger artist in high school and middle school. That's only scratching the surface of his community work. As an artist Steph Simon, has put out multiple projects that have defined the Tulsa sound and encapsulated its history. He's also appeared on numerous songs and has performed on almost every stage in Oklahoma. So, when an artist of this stature says that he has music that didn't make the anticipated album "All Roads Lead to DreamLand". I began to wonder what was he going to do with these unreleased tracks? That's where the album "The Lost Gems" was birthed. The Lost Gems is a 10-track project that clocks in at only 29 minutes listening time. There are 7 credited featured artists in the project's tracklist. An interesting note about the track list is that out of all the featured artists, there is only 1 Oklahoma artist on the album, and that's Dolo Loco. Furthermore, there are no World Culture Music members featured on this project, which is really unusual, sort of similar to Benny The Butcher dropping an album without one single Griselda member on it. Is it a crime? No. But is it unusual? Yes. But to give context that this is more of a compilation of songs and not a true album gives us a little hope that there may be another World Culture Music album one day. (side note: "What Would Jim Do?" is no longer on streaming) We also had the pleasure of going to the listening party for the project that was held at Silhouette Sneakers & Art, the same place that Steph shot the video for "Built Different". Let's sit with this a little. A listening party. What exactly is it, and what makes a successful listening party? The answers, in my opinion. First, not everybody is invited. It's not a place for socializing per say, it's a time to get the tastemakers in the room to have a truly transparent interaction with the art. The tastemakers include the bloggers, the newspapers, the podcasters, the publicists, the djs, the radio djs, the club djs, the radio program directors, A&Rs and other music executives. This isn't a time for you to have all the homies, every single rapper in the city, the social media influencer who posts funny videos, the streamer whose content is about gaming, the TikToker that does dances. The former is what will get your music played, and the latter might play you. The experience is also supposed to be interactive. It should be a two-way interaction where the artist plays the song, but also gives space for feedback, which will also be data for the artist to maybe tweak the album or use for future releases. The listening party is as much for you as much as it is for the tastemakers. They get to listen to music early enough in the hopes that they can craft content for your up-coming releases. They also get to see trends happening real-time. Lastly, this helps tastemakers continue to build trust with their audiences by showing why they are tastemakers and the fact that they get into exclusive rooms and have these VIP experiences that the regular person wouldn't and put their necks out for why the listener should spend their time and money with an artist. It's a mutually beneficial relationship. The Lost Gems Listening Party. Let's get into it. What made Steph Simon's The Lost Gems Listening Party so memorable is that he is great at storytelling and he's great at performing. Both of these strengths he leaned into by A, telling stories behind the tracks and how they were created, and B, by performing either a verse or a certain part of the song such as the hook acappella, this brung the words to life, and often was like relistening to the song through a different lens I noticed myself catching things I didn't in the first listen. Also this was my first listen to the album, I wanted to go in truely unbiased and be able to experience the album for the first time through a new purely objective perspective. Let's get to the album! The Album Cover Some might thing that album covers don't matter anymore, I can assure you that they mean more now than ever and Steph Simon has always been intentional with his. The photo for album cover for "The Lost Gems" is from the DreamLand fundraiser game from March 23, 2025 that was held at the Tulsa Driller's Stadium. This field is important not only to Simon, but to the community. A community that neighborhood kids would use to play games such as football or kickball in, the then empty field. But also, it is believed to be where the bodies of the Black Wall Street Massacre are buried. Now the field is built over by the minor league baseball team's stadium called, Tulsa Drillers Stadium. But on this day that same community reclaimed it for them as they competed in a kickball game with Steph Simon taking the mound as one of the teams' pitchers. 
The Interaction The interaction of the Listening Party started with of course the people, the free food, the free drinks. But also came with the music. dj noname. who set the vibe with a crazy setlist of curated music that only added to the anticipation of hearing the new album, dj noname. continues to be a name that is respected and one that is apart of the Tulsa sound from his musical family linage all the way to the music he is creating now. Another great interaction was the art installation of Simon's lyrics. This is the ultimate form of vulnerability and was basically like reading through his journal where there was the good, the great, and a few diss tracks that the world may never see. 
Let's not forget, the interaction with Merch, this was something I also appreciated. We're literally coming here to support you, the artist, so why not have merch there as a second way for people to support you. That might be exclusive merch or first looks on merch that won't drop until later. Steph Simon did this very well with an assortment of t-shirts, hats, buttons, and stickers. There's only one other artist that I've seen sell merch at their listening party with a more curated feel and that was PG Louie who had a custom candle called "Creed N' Candy" that felt a part of the marketing and vibe of the album. More artists should have merch at their listening parties. And as an independent artist, really you should always have merch on you. The last interaction that really set Steph Simon apart was the fact that he had a Google Form that asked listeners questions specific to each song on the album. such as; What's your overall thought for the specific track? What stood out most about the track?
I encourage you to fill it out the Form and let us know some of your answers:
The Lost Gems Listening Party Form The Music Please Now let's get to the music. The album started out with Keep Diggin which is motivational and a great starting point for the album. It's Steph Simon in reassurance of his position and the values he's practiced. The featured artist Dometrius, has a soulful voice that becomes sort of an internal conscious for Simon, encouraging him to continue moving like he's moving, because he's so close to hitting gold. I really like the song. The next song is of course "Built Different" (read our review here). Simon has put on a masterclass when it comes to promoting a single, and continues to push this song like it just came out. The social media impressions and user generated content from the single alone has shown the song's impact, all evidence of a well-executed on the marketing campaign, and also shows that it pays off to stick with a single you truly believe in. But I can't help but to think, it would be a total loss of momentum if this song wasn't also on the "All Roads Lead to DreamLand" anticipated album from Simon. Hopefully, Simon recognizes. It's the radio single, it's the one that gets the listener in the story and anticipating hearing a familiar sound, "Built Different". Also, the video is sooooo dope! Just watch! The 3rd track on the album is Fundamentals. The song is as good as the story behind it. Simon had been working on music with the famous West Coast producer Blaqthoven who's worked with every major West Coast hip-hop artist known such as Snoop Dogg and E-40, Kurrupt, even Talib Kweli. And uncle Charlie, yeah that's really his uncle, Charlie Wilson. So as Simon put it, he made a song with Blaqthoven that he wanted to get Das and Kurrupt on, but unfortunately this was the same time that the two were beefing, so it never happened. But God always has a funny way of laughing at your plan because he already had His plan in mind, that was put into motion when Simon did a show in OKC with Jabee and Mistah F.A.B, who is a bay era legend, the result, Fundamentals. What Steph Simon wrote down on paper as a goal had morphed into something that was better than he could've expected, also Simon told how he felt like he is the Mistah F.A.B. of Tulsa, so there were a lot of synergies in these two being on the record together. The song itself is a call back to getting back to the fundamentals of hip-hop, of which Simon has always been a student of. Simon raps about pushing back against the algorithm and getting back to making good music. Mistah F.A.B. is back to the fundamentals of bars and lyrics and regional sound. One of my favorite bars from the album is when Simon raps, "Probably catch me posted by that Mid-K, I think's that's why so many rappers out here dropping mid-tapes". It explains the fact that music back in the day had to be good, because in order to sell your music, people had to like it. Now all artists have to do is to come up with one catchy bar, or one hook, and you can get millions of streams from a TikTok. But chasing that one viral moment has come at the cost of good music and lots of horrible music. Or even worse, music that you only know that one viral part. You might as well create jingles if your goal is to go viral. Because to make real music that lasts, you need the Fundamentals! If you're familiar with Simon's music than you know that the Black dollar has always been a part of his messaging and this tape was no exception. Big Fish is a track that promotes the black dollar circulating amongst the community and showing that everyone can eat, even a Big Fish in what others may consider a small pond. The featured artist AJ Snow talks about taking risks for a bigger profit as well as investing. Steph Simon's has always been a quarterback of the DIY movement, so when he mentions Jeff Blake, it was the perfect comparison, Blake was a an Black quarterback who played for the Cincinnati Bengals, and has the record 92-yard touchdown pass in a Pro Bowl game, while Simon has been throwing hail mary passes his whole career, and scoring more often than not. The last feature on the track is Jayson Cash another California artist who had a great line about realizing that his first time he flew out of LA was actually a connecting flight in OKC, the world is truly that small, especially to a Big Fish. If you're from Tulsa, then you immediately recognize the early 2000s Tulsa sound that comes from the track T.A.N. the acronym stands for "Tulsa Ass Nigga". The song pays homage to that Tulsa era where artists had a certain draw in the way the said things, the shops that people used to shop at, such as Big T's, and the accessories that was work, such as hoop earrings or basket earrings, Jordans, and the iconic Herringbone chain. Also, the rodeo culture that people didn't run from, they ran to, many putting the rodeo culture in their music as well. Simon also chose not to have the track mixed and mastered as to stay true to that Tulsa sound, he noted the nasally Tulsa flow that he even incorporated into his verse. Not to mention the featured artist that is so Tulsa, Dolo Loco. He lets you know all that comes with being a T.A.N. "On Me". Nothing New is a track produced by long time Tulsa producer Papa. During the listening party Simon mentioned that he draws comparisons to LaRussell, but also he says he's like E-40 because at the point that he entered the rap game it was going through a pivotal shift, social media had yet to be created, so for him, his timeline gets lost with many people approaching him as a new independent artist without knowing that he's been grinding for years. He also mentions this as one of his favorite songs on the album which I can see why. It's real talk and real flexing, or as he says, "I ain't on these murals for no reason". You might remember Lil Wayne and Drake had a song called BB King, Simon's bodies the beat just as much with storytelling and metaphors that punch through each bar. "Line it up like a Keezy Kut". Simon continues to immortalize his homies in his bars and takes listeners on a journey through his lens. He just wants his blues like BB King. Also, I have to mention that you know you're important to the culture when rap juggernauts Jabee and Chris "The God Mc" Cain pull up. It was like 3 Kings, truly a moment for hip-hop! 
Time For A Hard Truth...... The track Tell Me. I'm not the fan of. It's a love song that felt forced. The vocalist's performance on the track could have been stronger. It felt more like an in the shower performance than a man singing about love. The energy was so low and mundane. It's missing the passion. I think it's Steph's own vocal presence and lyrics that literally saves the track. I would like to see the singer either redo the vocals or bring in a stronger singer using this as a reference track. Think of Some Ways is a track that signifies that Simon has figured out how to tie all of his entities into a self-sufficient machine rather than stand-alone businesses that he hustles continuously to keep going. His anchor begins with the DreamLand Festival that helps gather funds to help grow the other entities such as TMC Records and other school programming. It's also a realization that he is similar to the hip-hop pioneers like KRS One, that will open the doors for the kids to make millions even if that means he might not fully see the millions himself. He will help the kid in Monroe that will be able to see his vision through, that's legacy. And within that, like JAy-Z said, "I’m over charging niggas for what they did to the Cold Crush". This song is Rapanomics! Gotta Eat is the last track on the album. Steph Simon sounds hungry on this track, the youngins would say he's rapping like the rents due. But he has already said the rent's paid. Simon mentioned the track was written while riding the Blue Line train in Santa Monica, it would be there that he would ride bikes on the beach. It was also on this train ride that Simon saw a naked man, and that's when he had the sobering thought that life ain’t bad. Also, it was on this hour-long train ride that he actually wrote the song to 4 different beats, before choosing this one produced by Blaqthoven. My interpretation of the production is that it's really busy, it's hard at times to track where to anchor your ear to because of the competing vocals, instruments, and tempos. As crazy as Kanye is, he's good at stripping beats down and finding places for emotion over drum patterns. I wanted more of that emotion to come through on this track. The lyrics are there; the emotions aren't. To throw a listening party means that you have to have a few different elements. The right people, the right interactions, and the right equipment. I think Silhouette is a great place, but I did find that even sitting close to the speakers that it was at times hard to make out the lyrics. Bass is important, but it's more important during a listening party to be able to hear the lyrics. I think that could've been executed better. There was lots of great activations. But also I would've liked to see a few more djs and radio personnel there. But this may just be a practice run before the real album drops. I think the Google form was genius, not only are you collecting feedback but you're also collecting another contact point that is outside of the social media machines. Direct to customer. That's the answer. The final goal is to get people to listen to the album, and from everyone I polled they did. The last goal is to get those people to create content to get people to listen to the album. That's what this is. So, mission accomplished. That's what makes a good listening party. 
I do suggest that you listen to The Lost Gems. It's a great album. And it's streaming everywhere!
I also encourage you to fill out the form. The Lost Gems Listening Party Form 
They say AI is taking over. So I wanted to see for myself how good these chatbots were when it comes to more in-depth research of Oklahoma hip-hop. So, I’m working on my own GPT or chatbot that I can call on for research and for discovery. I created a Google Gem called “Lyric”. Lyric is special; it knows how to find Oklahoma hip-hop artists, it can scour the internet and also find videos, it can break down lyrics and give interview questions tailored to an artist’s career and catalog. Seems cool, right? But there’s still this problem called hallucination. Hallucination is when a chatbot makes up an answer. Now you see my concern. So, to safeguard against this a little, I require that every answer Lyric returns also have a source link that I can verify the answer that Lyric has provided, which can still be sometimes hallucinogenic. I wanted to really test out the ability of this chatbot. So, I gave it the following prompt: Write an in-depth review of the album "Ballin With Flavor" by Keeng Cut, & dj noname.. Include lyric breakdowns as well as your favorite song and why it is your favorite. Give feedback on what you did and didn't like.
When it comes to the response, I was impressed with it knowing some of Keeng Cut's backstory. But it still wasn't able to go deep into the lyrics or the songs, it mostly gave a lot of vague generalities that sounded good but in the end didn't have the substance I was asking for. Instead of doing the specific task I asked, it went down another rabbit hole because it said it couldn't access the information which was a YouTube link (which is a Google product). Here's one example it gave. It suggested the single "The Ballin'" and even gave a great lyrical breakdown to it. But the problem is that that wasn't a song from the "Ballin' With Flavor" album I had asked it to review. We have a problem here.
So maybe the prompt was too long. Maybe we need to spoon feed it to get a little deeper. So I gave it a prompt that was shorter. The response seemed all too familiar.... What's your favorite song on Ballin' with Flavor? Tell me why?
My favorite song on Keeng Cut & DJ Noname's "Ballin' With Flavor" is "The Life."
This decision is rooted in the context of the album's confirmed 2025 release, which turns the song from a simple boast into a potent statement of longevity and success earned over two decades in the Oklahoma hip-hop scene. Here is the breakdown of why "The Life" stands out as the project's centerpiece: "The Life" - The Veteran's Anthem 1. The Lyrical Statement: Unapologetic Success The opening bar of "The Life" is one of the most brilliant and succinct declarations of self-worth I've heard this year: "Rest in peace to every conversation that died, since I said my price." This line immediately sets the tone. It's not just about money; it’s about value and time. Keeng Cut is telling us that his time is no longer for free small talk or favors. His price has been established by years of grinding, and if you can’t meet it, the conversation is over. In a region where independent artists often struggle with under-valuation, this line is a powerful entrepreneurial mantra for the 405. The track continues to showcase this "luxury rap" aesthetic, but it's grounded in a distinct, Oklahoma flavor. Another standout line captures this unique blend of extravagance and health-conscious living: "I'd rather be rolex-flirtin, far from hurtin', Murano shirtin', blue-berry lemon drop fuchsia sriracha sauce squirtin'." This bar is pure flavor. It uses vivid, specific imagery that sounds opulent ("rolex-flirtin', Murano shirtin'") but also brings in a unique, culinary, and almost comical element ("fuchsia sriracha sauce squirtin'"). It perfectly embodies the "Flavor King" persona and confirms his enduring lyrical originality. 2. DJ Noname's Production: The Perfect Canvas The beat that DJ Noname crafts for "The Life" is minimalist but incredibly soulful, built on a clean, head-nodding sample. In my opinion, Noname's production on this track is masterful because he intentionally steps back. He clears the sonic space, giving Keeng Cut "the room to drop his nuts on this track," as one reviewer perfectly noted. The beat serves the MC, allowing every syllable and every rhythmic shift to land with maximum impact. 3. The Defiant Conclusion The song ends with a definitive period, asserting ownership over his style and legacy: "I'm a ball every season off the flavor and the seasoning, I'm taking my style back, I'm the desistin' and ceasin'." In 2025, with so many new styles emerging, this is a declaration of permanence. Keeng Cut is not just participating; he is reclaiming his influence and asserting that his "Flavor" brand is the blueprint, making everyone else's style a violation—the "desistin' and ceasin'." "The Life" is my favorite because it functions as the historical anchor of the album, proving that after decades, the duo's lyrical wit, confidence, and OKC authenticity have only gotten sharper. Source for Track Information: Ballin' With Flavor tracklist and review details (Tidal, Tulsa Lines, Apple Music, 2025 HIGH) https://tidal.com/browse/album/460722812 
Notice the Tulsa Lines source? That's right. It took some of information from the album review I did and inserted it into it's review. Crazy right? (You can read my review here:). They say imitation is the biggest form of flattery, so no Biggy. But also In the words of Jay-Z, "You made it a hot line, I made it a hot song!!"
So let's try another prompt. Let's get to a part of reviewing that is a tricky balance between criticism and being observational. What didn't you like about the album? Tell me why?
That is a crucial journalistic question. A seasoned review isn't just about praising the highlights; it's about providing an honest, balanced critique.
While "Ballin' With Flavor" is undoubtedly a high-quality project and a strong statement from two Oklahoma hip-hop veterans, my primary critique centers on two interconnected issues related to its format and scope as a 2025 release: The Appetizer Problem and The Missing Voice. 1. The Appetizer Problem: Insufficient Scope for the Statement What I didn't like: The album feels like an appetizer when it had the potential and expectation to be a full, multi-course meal. Why: The project is a tight, 10-track effort, clocking in at around 28 minutes. Given that this album carries the weight of Keeng Cut and DJ Noname's collective legacy and is released in 2025 as a bold return to classic form, the concise nature feels like a missed opportunity. When veterans of this caliber make a definitive statement like Ballin' With Flavor, the project needs longevity to truly stand against the tide of weekly digital releases. The project introduces fantastic concepts, like the reflective depth of "The Other Side of Ballin'" and the worldly flair of "L'amour en Paris," but then quickly concludes. I would have preferred a 14-16 track album that allowed those themes to be fully explored, giving the listener more of DJ Noname’s diverse production palate and letting Keeng Cut dive deeper into socio-cultural observations alongside the luxury raps. The ambition of the title deserves a longer runtime. 2. The Missing Voice: Focus vs. Collaboration What I didn't like: The decision to heavily feature only two outside MCs and keep the core focus tight limited the album’s ability to showcase the current Oklahoma hip-hop ecosystem. Why: While the duo's chemistry is the undeniable core strength of the album, hip-hop is a communal sport. Keeng Cut and DJ Noname are legendary elders of the Oklahoma scene. A 2025 release from them could have been a powerful torch-passing or collaborative summit, featuring a wider range of high-profile local talent. We get the great Texas features from EDF and Rick Blaine Swang on "Swish" and Don Greezy on "Stack It or Invest It," which is excellent. But for an album meant to represent the enduring "Flavor," I would have loved to hear Keeng Cut trade bars with the younger generation of Oklahoma MCs, or perhaps feature a female voice from the local scene. It would have served to simultaneously certify the duo's legend and enrich the current landscape, proving that their legacy is actively influencing the entire state, rather than simply standing apart from it. 
I think this is a good, generalized critique. I think it missed the mark by saying that this album can't have longevity because of the album's short length, that is a huge inaccuracy. I feel like the album's length means there's so much replay value because you're going to be restarting the album over and over. I know I'm well past my 10th listen of the album. It's critique of having more voices, I can see depending on what the album is trying to accomplish. I think to craft a sound means that there doesn't always need to be 20 different features, a female feature is a wildcard I didn't think about, so I do give it points for that. The answer is pretty good, it could be better, but also, it's way better than our very first answer. We're cooking now. Let's do one final prompt. Would you recommend this album to a friend? And what song would you suggest they listen to?
The response:
Absolutely, without a doubt. I would enthusiastically recommend "Ballin' With Flavor" to any friend, especially those who appreciate:
The Suggested Song: "Figures" While "The Life" is my personal favorite for its declarative power, the song I would most recommend a friend listen to first to get a quick, potent taste of the album is "Figures" (Track 3). Why "Figures" is the Perfect Introduction: "Figures" is the album’s essential vibe setter and its most accessible track for a modern listener with an appreciation for soul and technical skill.
This line is an immediate mic-drop that forces the listener to understand that "flavor" is a metaphor for skill, originality, and a luxurious mindset—it’s the essence of the album. Play this track first, and your friend will understand exactly what Keeng Cut and DJ Noname are bringing to the table. 
Ok. I see you A.I. I like this response. But again. This is quoted from my review, just packed a little differently. So the final answer is. A.I. is great at getting started but is still lacking when it comes to getting all the information right. It can't take huge tasks and do them all at once. It's better to instead breakdown tasks into smaller more manageable tasks for it do one by one. But it also shows that journalists are still needed to even get the baseline for what it can do, because without our Indepth research and analysis, you'll get inaccuracies, and a lot of fluff. You still need journalists to do the work that A.I. can't and that's what we call mastery, that's skill, that's the 10,000 hours. So how do I use A.I.? I use A.I. as an assistant. But not as the answer. I use it to research things, but I always double check. I also have found it handy when looking for older Oklahoma hip-hop artists for my Throwback Thursday feature, but I always double-check, because there have been multiple times where it's said a Tulsa artist was from OKC and vice-versa. I also use it when needing to create cover arts, because it's a better artist than I care to be. But ultimately, I know that A.I. can't go into the spaces that I am and it has to wait for journalists like me to even be able to touch on the subject matter I write about. So when it comes to me vs A.I. I'm betting on myself every time! And you should to! Thanks for reading. Make sure you listen to "Ballin' With Flavor" now streaming everywhere! 
Keeng Cut has never done anything regular. The crowned Flavor King has been putting out hits that has garnered a loyal fanbase. Each and every drop is like a viral event of shares, likes, and comments. But it was when he linked up with dj noname. that a new sound started to emerge of culinary opulence that can only experienced, but never duplicated. Their 2020 debut project “Snackin’ With Flavor” (read our review here) was released at the height of the Pandemic, and for many people became the soundtrack in an uncertain time. Now that the Pandemic is overish, these two are back again for a sort of side mission, with the release of their new project “Ballin’ With Flavor”. Ballin’ With Flavor is a 10-track project that seems like the appetizer to a more full-length project in the Flavor catalog. It’s a tape that marinates and gets better with each listen. At times showing off the how well-traveled Keeng Cut is from the names of the song "L'amour en Paris", to the life lessons like in the song The Other Side of Ballin' all the way to the featured artists that include Texas artists EDF and Rick Blaine Swang. Let's get into it! The first song on the album is More (Intro). It has this grand feeling where longtime friend and artist CorkyClean, kicks off the album with an even grander introduction. CorkyClean has been mentioned on some of Keeng Cut’s albums such as "Fiesta on Jensen Drive Got the Best Pinapple in Houston" , it’s like finally meeting a character from one of your favorite shows, and he is real-life a good person. Keeng Cut slides on the beat like a 70s soul singer that smoothly grabs the mic giving real-life luxury raps. This sets the tone for the album. This is only the start to ballin. When it comes to one of the best opening lines in music, “The Life” has to be Top 5. “Rest in peace to every conversation that died, since I said my price”. If that ain’t a hell of a statement, then I don’t know what is. This song is Keeng Cut being honestly braggadocious and unapologetic. There are lines that paint this lifestyle that is not only about wealth but also centered in health. Like this one, "I’d rather be rolex-flirtin, far from hurtin’, Murano shirtin’, blue-berry lemon drop fuchsia sriracha sauce squirtin’." This is such a luxury bar, which in this album he gives in abundance. It also has to be mentioned how he ends the song is such a punctuation, “I'm a ball every season off the flavor and the seasoning, I'm taking my style back, I'm the desistin' and ceasin'”. Come on. That’s a fucking bar. Also, dj noname. you are a genius for finding this track. It gave Keeng Cut the room to drop his nuts on this track. Make sure you watch the Grit n Go Cypher Mic Drop performance to let you know just how much he is rappin on this track. Ballin’ with flavor baby with seasoning 2,
Track 3 is Figures, a track that is very reminiscent of those southern player raps where the flow was slower, but the bars were just as sharp as its coastal peers. The jazz production gives the track this nostalgic feel where Keeng Cut slows it down with the rhythmic cadence of his ad-lib “uhh” that becomes almost a hypeman to his own track. He shows that his ability to switch up flows and stop on a dime while the anticipated bar flies right by the listener like a Hot Sauce move on an the And 1 Mixtape Tour. Again, he puts on display his lyrical skill and ends the song with such a bar, and clarifying statement of the flavor lifestyle, Ballin’ with flavor baby with seasoning 2, but this flavor shit ain’t all about eating food.
Like Jordan doing a no-look behind the back finger roll, dj noname. comes on the Swish and talks his shit. He’s not only one of the best dj’s in the town but he’s been getting some of the best raps from Oklahoma legends on his beats, so it’s only right, he talk his shit. Swish as the title suggests is about ballin, what’s unique is that this is where we find our first true features with Dallas collaborators Rickey Blaine Swang from Dallas and EDF from Houston. EDF's verse from the beginning bar is like that cousin that's always been good at basketball and is a volume scorer because he racks up bars, “I’m stickin' to the script like Scorsese”, OK Houston, EDF continues this ballin' streak of bars with similes and metaphors that compound over the course of the verse, don’t let the slowed up delivery fool you. He rappin! Rickey Blaine Swang proves that he got his own motion and handles his verse with finesse weaving through the bars at his own tempo. "I feel like Bron, when in the bubble, never trippin off your double, and I’m ballin’ so hard I done had a triple-double." It shows that even though the three artist aren't too far from each other geographically, that they are still very unique. Keeng Cut and his Texas neighbors create an ode to Texas culture and the contributions that Texas rap has had on the music. It’s one of those songs that if you were around during the height Texas mainstream musicthen the song hits so much harder’. But Texas has seen a lot of mainstream success lately and this is proof of why labels are going to the Lone-star state. L’amour en Paris which translates to love in Paris is exactly what this track is, Keeng Cut is on a cross-country adventure with his love in places that many will only experience through this track. Keeng Cut's getaway is not for the puppy love phase, but is very much a grew in-love stage, because both sides grew because of the other. Splurging is different because y’all splurge on each other, and there doesn't need to be a because, and it doesn't even make it to the gram. This is a way more baller version of “You can have whatever you like”. He’s mentioning luxury brands that only people with money know about and experiences that only people that have been in Paris have experienced. It's Amoure! Never Worried is like an internal monologue or better yet a reflection of the world we live in. Keeng Cut reflects on true experiences that comes with travel, and it's through these travels that he's realized that it’s a big world, and once you get outside your area you’re gonna appreciate that worldly view when you travel, because as he says “Tulsa Winters hit hard, you gonna need a trip or two”. Lastly, there is a hilarious commentary in the middle of the track where he tells of a story about jumping in his friend's ride and the seat is in a gangster lean. The bridge at the end lets the listener know that Keeng Cut really lives his raps as the Ninja blender that is referenced then echos in the background to infinite flavor. "Saw a nigga become rich,
The production for Stack It or Invest It has this New Jack Swing vibe that is very uptempo and flashy. but Keeng Cut and Don Greedy ground the listeners with the game they put in their raps. It’s lessons of personal experiences weaved in the bars along with real advice. From stacking your paper for a rainy day to being OK with being a W-2 Employee, Keeng Cut slashes through the stereotypes and has a real conversation with the listeners. Don Greedy continues with his advice starting at the bridge, "Stack that money til it’s old, but when it’s old it molds. You better invest that shit." That’s real-life advice especially when the dollar has lost 11% of it's value, just this year. He goes on to show how people who seem like they have no motion are quietly making millions, "Saw a nigga become rich, that used to be smokers, saw a nigga get a whole pound, savin’ roaches”.
Ballin’ Like This (Interlude) feels like that Motown showcase track with a live band and three backup singers, it’s so short but still has all the elements and full production that makes it feel like a full song and leaves the audience wanting to hear more. The repeated chorus of “Ballin’ on you" contrasts against the luxury bars of Keeng Cut. It feels like infinite ballin'.
The Other Side of Ballin’ has a very Somber feel to it. I imagine it like the tipping point in American Gangster where Frank Lucas’s world comes crashing down. It’s an honest representation of what can go wrong for example when he says, "Everybody fall, but it’s about how hard you land, Do you got some cushion or that shit gonna break you man?" He reminisces on all the money he spent and the time when his back was up against the wall. But can you see the patterns and what you're doing wrong before it's too late, or will you continue the insanity, because the pendulum swung back in his favor. It’s a true story of resilience and learning through your lessons, let’s be honest some people don’t make it through to the other side. That rainy days are as promised as sunny ones.
Big Favored
Outro time. I love an outro because it shows how much an artist cares about a project, and if you listen closely there are usually clues to what the artist has up next. Favored n Flavored doesn’t disappoint. I love how he comes right out the gate rapping with this crazy 4-bar rhyme scheme that punctuates the moment in the album. It’s a song of thankfulness for his life and most importantly thanking God. What is most eye-opening is his near-death experience, which would’ve turned most cold. But Keeng Cut chooses to be Flavored!
There you have it Ballin' With Flavor, a tape that is no doubt another championship trophy for the dynamic duo that is Keeng Cut and dj noname.. I think this album is just the appetizer to a bigger project, but like gumbo, you gotta let them cook. Or to keep with the basketball reference these two are still setting up the play. One thing is for sure, Ballin' with Flavor is one of the best albums to drop this year. Make sure you go stream it and purchase your limited-edition vinyl! Buy the Vinyl: Ballin' With Flavor Vinyl Stream the Album: Ballin' With Flavor Make sure to follow Keeng Cut and dj noname. on social media: Instagram: @keengcut Instagram: @nosamyrag YouTube: Keeng Cut TV 
The best things about being an uncle is that you don’t have to perfect, You don’t have to have to be compared to this standard that parents do. In short, you can always tell it how it is. UNCLE JAY is an artist that specializes in doing just this, and this time he's bringing dj noname, in for their project called UNCLE NONAME. UNCLE NONAME is a six-track project that dropped on 4/20, a day usually reserved for smokers, but surprisingly this wasn't the theme of this project. What was? We'll get to that later, but for now, let's talk about Track 1. Noname never disappoints on production as the first track “A STEP AHEAD” starts with the dj noname.’s signature use of a soulful sample of Black Ivory's single "It's Time To Say Goodby" sample, the producer has become a historian with his ability to pick timeless tracks, this time around it sets the stage for UNCLE JAY. "Visions through a prism, gifted with the difference to make, when distance was an issue, I had that Lemon Lemonade." UNCLE JAY has crazy wordplay and goes through a broad array of topics such as nautical skills, A.I,, education, and that's just the first 45 seconds. It's clear that UNCLE JAY can spit. Then we get to Track 2, You & I. Again, dj noname. found a timeless sample, and again it's from Black Ivory’s single “You And I”. The looping chorus sets the stage for Uncle Jay to rap a few bars and then let the chorus play as if it were a 60s r&b group where the lead singer moves back and forth from the mic while the background singers repeat the chorus. I would say that this is the love track of the album that is wrapped in not only emotions but also some slick bars that I found myself going back and rewinding them just because of the imagery, such as this one, “I inverted kiss from a mouth of fire, reversal foot than it turned to mine. “, even the cleverness of this bar that was in turn from this crazy set up from 2 bars previous, "should write my wrongs, on the wrong page". “I got the slice like katanas,
LISTEN is one of my favorite tracks. What I like about it most, is that it's like this lyrical gymnastics as UNCLE JAY’s bars show his skills like a triathlon athlete, he excels in wordplay, metaphors, rhyme scheme, UNCLE JAY attacks each bar like he’s going for gold. There also, so many quotables in just the first verse. "I got the slice like kutanas." BARS!! They like to think they Iron Man, until they lack J.A.V.I.S.” BARS!!! He really did pop his shit on this track. While also tying in a life lesson; to be confident in your gift, because no matter how much you might run from it, it's still going to find a way to shine. Lastly, it's with the third track that you also realize that dj noname. is using another Black Ivory sample, this time it was "No If's AND's OR But's". It's a dope track to bring into the 21st century and proves that this group was slept on.
The fourth track on this project is called DONT RUSH LOOKN 4 YA HALO. UNCLE JAY is a little more laid back on this one and shows his personality more, he also switches his flow by using a kind of mini-subconscious voice that's used by artists such as Kendrick Lamar or J. Cole, the voice brings a depth to the chorus. I think he should have brought it back on the second and third chorus, which sound more like an echo effect and is missing the first chorus's sound. What I do like about this track is that he is talkin his shit. He's an artist that is known for doing the work that other artists say you gotta do, and this is reflected from the very first bar, "This boat still needs rowed". followed up by, “The entrance of a wrestler, self-driven like TESLA." Just put the whole first verse behind glass because ain’t nobody touching it. Even in his second verse he continues to show his clever wordplay through use of alliteration in the bars that use of the word 'seen'. Y'all really got UNCLE JAY fucked up. "She say come talk to me ,
SEARCH & YOU’LL FIND you gotta shout out dj noname, his beat selection once again is impeccable. It’s just something about hearing horns on a track that lets you know that it’s about to be a dope, as he found another sample from Black Ivory and their song “I’ll Find A Way". The track sets the stage for luxury bars, “Be serious and willin, it feel like walkin with God, cause the mirrors in the storefronts won’t tell you, you fraud". This is the shortest track on the album, but it's also jam packed with bars and technical skill. I also like the way he flipped the words "pair" and " sight" in these two bars. “We weren’t concerned with parasites or snakes in the creeks, but this pair of sights, had a lot more to see." Again, y'all really got UNCLE JAY fucked up.
I always judge an album by its outro, and like an uncle, you’re judged by the last advice you give. BISON IN BLIZZARD is the final track on the album, and dj noname. dials up Black Ivory’s "Baby, Won't You Change Your Mind" its that outro beat forreal. Again, UNCLE JAY knows how to deliver as he uses the beat like soapbox to give his final advice of the album. He's literally spittin life experiences in these bars and giving game like an uncle would, Lastly and probably the most important is the love, the love he shows at the end of the track, cause that's what family does. UNCLE NONAME is a project that although it’s short, it’s straight to the point, it doesn’t waste your time, and it doesn’t give you any filler. UNCLE JAY just tells it how it truly is, just like an uncle is supposed to. I also have to give credit to dj noname.’s use of Black Ivory tracks, again this group was really slept on. dj noname. is a musical archeologist who can dig through thousands of tracks and find the one that can create magic. As far as the content of the album, UNCLE JAY talks to the audience like an uncle would to talk to his nephews and nieces. Sometimes that means you and your uncle in the backyard smokin’ a blunt while he gives you the game, it's an open-diaglogue and a reflection from life experiences. Because that's what uncles do. So, listen up, and go stream the album UNCLE NONAME: Go follow both UNCLE JAY and dj noname. on Instagram: UNCLE JAY's Instagram: unclejaymakesmusic dj noname.'s Instagram: nosamyrag 
Hurricanes, Floods, Genocides, and Fires. It’s safe to say that if this is just January, then we’re in for a hell of a ride. People are just now getting over everything that happened in 2024. Then the TikTok ban. What else can happen in 2025 that already hasn’t? It's a world of uncertainty with bad news after bad news. The world needs something to look forward to. Something to dance to, something to get their minds off this godforsaken planet. AP=Chem is doing just that with the release of their EP Imed=3. 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 their two EPs "Imed=1 and "Imed=2". Get to know the band that's changing the way we experience music. Right out the gate, track one, The Golden Path takes you on this journey. It's the beat that grabs hold of you with its infectious high-energy. This eclectic guitar that just takes control of the beat, and the hard-hitting drum and high hats, the crash cymbals that give it that rock band feel. This is my Guitar Hero. A monotonic voice plays in the background sounding as if he’s doing some lecture that is luckily being drowned out by the music. The only thing that can save us from the politics and the classes. And although the voice tries to break through, its the music that grows louder and takes control. Because the music is the people! Slick Black Pools, that’s a hell of a title, and it's a hell of a track. Its electric guitar is bold and in your face. It takes me back to those early ‘80s Retro movies like "Weird Science" or "Nerds”, especially the talent show scene. Classic! I caught myself multiple times just bopping my head and just moving to the beat. That sensational retro 80s club music where everybody was doing coke. The synth machine is the star of the show as it gets its spotlight moment and produces these edgy experimental sounds combined with the drum pad machine, this sounds like some expensive equipment. Another noticable part of the song is the airy voice singing, but rather than singing a verse or chorus the voice wades in the background like an instrument that blends into the beat. This song is arranged beautifully. Track 3’s title breaks the rules of traditional spelling, Lumme which is a phonetic way of spelling the words ‘love me ', it feels like this hip-hop boom bap beat mixed with a melodic voice that repeats, “She don't love me.” This is more like a traditional vocal song complete with verses and a chorus. The track keeps you engaged with the different vocal effects such as the vocal filter that makes the voice sound like he’s yelling through a phone. Love will make you do that. Other times the voice sounds like it’s in a slow drug induced state that’s reminiscing about a relationship. Love will make you do that too. The EP takes a hardcore shift when it gets to the 4th track called, One Week in Japan. which is on par since Japan has a huge punk rock scene. Tokyo's iconic punk venues like Antiknock in Shinjuku, Earthdom in Shin-Okubo, or even Osaka with its own set of legendary punk venues, such as Fandango and King Cobra. This track fits perfectly in the Japanese punk rock scene. That guitar gives the track this dark eerie feeling, walking on the beat like Micheal Myers walking with a knife or maybe a samurai sword. This track is perfect for an anime intro. There’s this sheer gritty-rawness and one of my favorite parts is where they just rock out, and how it then transitions to this hard-hitting kick drum. This is one of those trips only the best of chemists could create. The last track on the EP is “We Loved a Lifetime’s Worth”. It feels like this ultimate crescendo of sounds as this piano and staticky bass hold its elongated notes, mix that with a crying guitar and you've got yourself a soundtrack. The synthesizer comes in like an 8-bit Zelda mission and creates this hero effect. Or maybe it’s this album that is the Hero. Each bar is taking you through the hero's journey that ultimately ends with nothing short of triumph. Let the end credits roll. Because this is the way you end an album. It’s only January. The world has seen so much. But what’s gonna get us through this year is being free, and that’s what AP=Chem is showing us with their new EP Imed=3. It’s a freedom to not be bound by anyone’s expectations. You can do rock, you can do rap. You can take everything you love and create a something that’s for the people, because Imed=3 is for the people. The feeling that you get from this album can not be faked or made with AI, it's a music that can only be created through feeling and experiencing. That's what this album is. So, dance, laugh, and love for a lifetime. Because this is what the world needs now more than ever. Make sure you stream the EP Imed=3 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 
Webster’s dictionary defines an interlude as; a musical composition inserted between the parts of a longer composition, a drama, or a religious service. From Drake and Omarion’s “Bria’s Interlude” to Kanye West’s “I Love Kanye”, or Summer Walker’s "Session 32", there’s nothing like an interlude. GOLDIELXCS knows this all too well and is showing the world what it means to live within the interlude with the release of her new EP called “INTERLUDE SHAWTY”. GOLDIELXCS is an artist from Dallas, TX who now calls Tulsa her home. She is a multi-talented artist, producer, and musician whose stage performance has been blowing crowds away. Her music blends into multiple genres making her sound unique and boundless. GOLDIELXCS has created a cult-like following and continues to see the benefits of being an artist who is just, being themselves. Check out her music! Interlude Shawty, the 4 track project clocks in at 6 mins. But don’t let that fool you, this project is packed with vibes. This is the ode to the Interlude! Starting with track one called “MOVED ON”. This track sets the vibe for the EP. Coming out the gate is the guitar that stands in front of the track like a protective barrier, shielding GOLDIELXS’s heart from a past relationship. It seems like at times the guitar gets out the words that GOLDIELXS is holding back from saying. But as soon as it seems like she was able to get those words out, the track ends. WE WANT MORE! Track 2 is called “THINGS GET DARK”. You can feel the dark soulful Kanye-like sample that feels similar to his style of sampling that uses a sped-up soulful voice as a prominent piece of the production. GOLDIELXCS’s airy vocals loop continuously, at times as she sings her heart out, hitting notes that convey a strong emotional pain and at the same time she expresses a message that is her embracing the dark times in anticipation for the brighter days ahead. Her voice floats on top of the beat and even at times extends beyond to a higher octave and stretching across multiple bars. She really shows her range and a vocal depth. “Lord Knows” is my personal favorite, it has this beat that makes me think of a Spanish city where GOLDIELXCS has taken a sabbatical to get away. Away from what? She doesn’t have to tell anyone why or the story, because ‘The Lord knows’, words she stands on and repeats throughout the track. She draws a line with this track by saying “how far I’ll go”, this too, she doesn’t have to explain and yet she still says soo much in this track. The interlude on this track is an implied understanding, and each Lord Knows becomes a reinforcement to her declaration that He knows and that's all that matters. The last track on the EP is called CALL ME WHEN YOU GET THIS, these words are repeated throughout, I think a lot of people will get this one as it is the most upbeat track on the EP. GOLDIELXCS lets the beat do most of the work as she sings “you should” in a non-committal tone that seems to insist but not make mandatory because you if you know what’s good for you, then you would. And this song is the SHOULD that you have to listen to. There you have it. INTERLUDE SHAWTY! Six minutes! It went by quick. But I enjoyed every minute of it. Interlude Shawty is an album that has amazing replay value, and I found myself going back and listening to the album multiple times and finding new things with each listen. I appreciate it's a vibe, especially when working, it’s hard for me to work and listen to music because I get caught up in the lyrics, and when I'm working, I can’t really focus on the task because I'm listening for that next crazy bar or quadruple entendre' (ask Kendrick, they do exist). But with this album you can have it on in the background and still concentrate on a complex problem, and still, most importantly, enjoy the music. While listing to the album there were times when I was deep into an issue and before I knew it the track had finished. It left me wanting more, and as an artist that’s what you want your music to do. Leave your audience wanting more, and only The Lord knows what more means for GOLDIELXCS, until then I’ll be listening to “INTERLUDE SHAWTY”. Make sure you go stream GOLDIELXCS new album called "INTERLUDE SHAWTY". Also follow GOLDIELXCS on social media: Instagram: @goldielxcs Twitter: @goldielxcs Spotify: GOLDIELXCS YouTube: GOLDIELXCS 
We are in good company. LVLC's sets out to prove this on his new album "Lovelace & Company" that comes jampacked with 13 tracks that read more like a compilation project than a solo album. The album features 11 credited artists, that's almost a 1-to-1 with the tracklist, but these are friends. As far as LVLC, with this album, he's out to tell the world that he's one of the best and I have dope friends too. So, without further ado, let's get into the album they call "Lovelace & Company". Track 1 "Y.O.T.D". I learned that this actually stands for “Year of the Dragon” it’s a soulful feel-good track "so I told God, thanks a lot, but I don't need love when it's my name". It’s lines like these that grab your ear and make you pay close attention. I like how he even adds a foreshadow to his track "Love Me" with his bar "boy get out your feelings, ain't no money in that place". LVLC shows his versatility on the track by the way he switches his flows to a Kendrick Lamar-like voice when spitting the bar "This is that double-sided Genimi" which for Kendrick fans know that Kendrick is one of the most diabolical Genimi's in the game. The second track on the album is called “Primordial” and admittedly I had to look up the meaning of the word. It's always good to learn right? Well, I would describe this album as a learning album. LVLC does what he does on the track which is deliver some amazing bars while we also see the first appearance of his super friends on the album, this time its FaDello who delivers a solid performance, his vocal tones keep you engaged, and his bars are agreeable to the listener like Fadello's verse is more conversational than outright lyrical assault which fits with the mood of the song. But then I would counter this point with The Thought's verse which immediately seemed like a lyrical tirade. His voice broke through the beat like a superhero's entrance, his bars landing powerfully as he kept your ears on its toes you were careful not to miss a metaphor. It was an amazing verse. Track 4 "Homies" is a reminiscent track that features again, FaDello but also GWayne and Kendra Mars. The track has a catchy fun hook which LVLC lends his voice to. Surprisingly he doesn’t rap on this track, but I guess that is what friends are for, one of the homies, Kendra Mars comes in very smooth, then gradually switches flows to so cleverly, it’s like when you hear about that athlete that can turn their talent off and on, they’re at times the most talented athlete but then it’s times when they let others shine. This is also FaDello’s second feature and it's a standout verse on the song he knows his pocket and how to entertain which comes through on this track. Homies is a standout track. Track 5 Pints & Fifths I would've liked to see this chorus evolve better, I feel like it's too repetitive, not as bad the viral "period ah period uh" but just repetitive. But G Wayne really stands out on this song, he comes in with a heavy inspired West Coast tone and backs it up with lyrics suggesting his willingness to stand on his lyrics. I do think LVLC delivers a dope verse as expected but again I think the simplicity of the chorus is unexpected from such a complex artist. Then you get to one of my favorite tracks from LVLC period. Track 6 "Love Me". The song is filled with such a quotable bar that starts off the song and is repeated throughout "boy get out yo feelins ain't no money in there" I remember going to Groundwaves and hearing the chorus and seeing everyone sing along. It's a very intrinsic song that proves that even LVLC's simplest bars are so tightly worded and expressed that you still go "ouuu" as if it were the quintuple entendre that Drake was wanting from Kendrick. The second thing I noticed about this track was the feature Da'juan Dupri, who has been killing verses and killing performances. But as much as I was filled with excitement I was met with a deflating verse. I felt Da'juan Dupri was uncharacteristically subpar in both his delivery and unserious on the track that left me confused. The song seemed to be a chance for a lyrical heavyweight battle but instead it was more of Jekyll and Hyde. But Dupri has time still to redeem himself on the next track. Florence Pugh. You can’t do no half-steppin on this beat. LVLC is really on his rappin shit. He goes straight in leaving no room for guessing who's album this is. He's just ice cold. Then FaDello immediately comes, this being his third featured verse on the album he doesn't disappoint as he spits this crazy entendre that lasts 4 bars using concepts centered on the nose. His delivery is on point, and he keeps the song elevated from the previous verse. Then the final verse. America loves comeback stories. I think this verse from Da'juan Dupri is his redemption verse. But this verse proves to be Dupri doing what Dupri does, "no boxin, get a jab, I'm Johnson & Johnson" that's the Dupri with the bars and the delivery and that I'm accustomed to. The metaphors are there, Dupri welcome to the show. Opportunites is a nice change of place track at the midpoint of the album. LVLC pulls another flow out of his bag that's more melodic than the punchline hard core hip-hop vibe of the earlier tracks on the album. Creo Cash was the perfect person for this feature, his rap\singing verse is complementary to the track "if my soul is attached to it then it ain't opportunity" and finishes the track by repping his group BDM. Fuck it Up is that posse track that feels like it could’ve been on Ruff Ryders Vol: 2. It’s this hardcore bass hitting, air guitar having, punch to your ear drums. It’s like a rock and rap mashup. Kendra Mars goes off on this track and reminds me of Eve holding her own amongst men. “I ain’t this light, I’m thinking Zeus, I’ll get a nigga struck”. FaDello has seriously been holding it down the whole tape and spitting some tuff bars. Lastly, Liberal Media throws around bars like a conspiracy theorists crime web, I’m still tryna dissect the verse, ornaments and organs, then the trail keeps going. This that one. Brothers starts with a sample from Donald Jenkins & The Delighters "Music Revolution" AceDaKid War Mothershed stood out in his delivery, he matched the energy of the beat, his verocity he approached the beat was like he was in a rap battle. LVLC keeps spittin. Check his wordplay. My God! At times he slows up his verse to make you understand and leave no guessing. He is the Dragon!!! What You Know is something for the radio or even a placement for the end credits to a movie or your favorite video game. LVLC singing. Who would’ve thought the lyrical artist could also serenade us, he really shines on the hook and blends well into his verse which is more singing rap. Even at the end of the track I was surprised, LVLC really showed off his vocal talent and sounded like an R&B singer in the rain that left me singing along, “Yeahhhhh Yeaaaahhh Yeaaahhhhh”! Every album needs that little bounce and that’s exactly what Skate Song is, it reminds me of that smooth soul dance track with rap. I can literally imagine being at Skate Land and vibing to this. It's a fun upbeat house style type beat and Emani blends her voice with the soulfulness of the production. LVLC even on a fun song like this LVLC's verse is lyrical he is still intentional with his delivery making sure to switch up flows. He paints this vivid picture with his use of wordplay and vocal inflections. I can only raise a glass of tea to this sweet verse. Congratulations sir, you sir have a hit. The last song on the album Lovin is the end credits to this album of a movie that has shown us inside the brain of LVLC, it’s also given us a glimpse of his friendships and the lengths that they will go to show that they have his back. Promise Cezar is one of these friends who chops up the beat with each word and like a calming voice on a track that is meant to ease the mind. The track closes with this sing-along “We Are The World” feeling where multiple voices sing along. You just might sing along too. So, there you have it. This album "Lovelace & Company", it's proof for the artist that doesn't need proof. He's extremely talented that has created an album that he chose to share and incorporate his friends. Maybe this isn't his solo masterpiece, but it is still a masterpiece that proves that there is no 'i' in team. LVLC doesn't need a team but I'm sure it was more fun having one to navigate each track. And even though its friends, it's still a competition and LVLC is known for throwing haymakers/bars when it comes to verses, and everyone raises their lyrical prowess when working with him. So, listen to the album and let us know what you think of "Lovelace & Company". 
4batz is an industry plant. Well, this is the general consensus when people try to explain 4batz's quick fast rise to fame. Neko Bennett, better known as 4batz is a singer/songwriter from Dallas, Texas who has been taking the world by storm which has also landed him a deal with Drake’s record label OVO. 4batz has the radio on lock but what about an actual project? 4batz just answered this question with the release of his mixtape “u made me a st4r.” The 11-track project comes in at 23 minutes and 35 seconds, making it very consumable. But does it live up to the hype? Let’s dive into it!!! The first track is actually a skit called "umademeast4r.mp3" and is really a slight jab to all the naysayers and people who have said that he's an industry plant. That he's blown up too fast. I like how he addresses this first, by saying ‘You're the reason’, meaning that all publicity good or bad has helped catapult his career to millions of streams seemingly overnight. But could you blame anyone for thinking this? 4batz came out of nowhere with his viral song "act i: stickerz 99" and each release since has seemed to have gotten bigger. Even his From The Block Performance of "act ii: date @ 8" has reached over 12 million views the unexpected performance is a contradiction to every R&B performance known to man, as he is surrounded by a group of friends from the block and is dressed in a white wifebeater and ski-mask. The performance seems more like a Chicago Drill video than an R&B video. Now let's get into the music. 4batz was smart, he put the two viral singles on the mixtape. Track 2 which is "act i: stickerz 99" and track 3 which is "act ii: date @ 8". It was smart of him to do this because it means that he can "inflate" his numbers with the track’s existing streaming numbers, as well as entice new listeners to listen to the mixtape solely on having these two singles on there. It's almost a perfect plan. I say almost because he put these songs at the beginning of the mixtape instead of putting them embedding them deeper into the mixtape. Doing this would've ensured that people who came to just hear the two singles were more easily steered toward listening to the other tracks on the mixtape because the streaming service would have another song from the album in the queue. Another point about these 2 songs is that there is no flow from one to the next and it throws off the cohesiveness of the album. It seemed to feel like “let’s just get this out of the way” more than it was “let’s give them something to look forward to”. This is a reoccurring issue with the mixtape. Track 4 “act iii: on god? (she like)” is his third radio single that seems thrown on the album. The track already has over 22 million Spotify plays. It’s a slow crooning 4batz singing about not letting go of a lady because of you guessed it, love. The song also has a remix which is the only credited feature on the mixtape. Who would've guessed? Kanye West, which is surprising given that 4batz already has a Drake feature on his single “actii: date @ 8 (remix)”, which is not on the mixtape. Kanye's verse wasn't anything spectacular and did nothing for the song. Honestly, I would've rather he left him off the song altogether and maybe just did an acoustic version. The remix is really just the original song with a Kanye verse on it, letting you know that the two probably just put the song together through emails instead of being in the studio together. The remixes of Diddy years where R&B artists and rappers made a song together on a slightly modified beat are over.
Now we jump into uncharted territory after getting the three radio singles out of the way. Track 5 is a skit called "get out of your feelings ho" where 4batz friend kind of reminds him that he shouldn't be tripping over a female especially since he's already been involved with so many others afterward. It is a light-hearted laugh between the two that was like a snap-out-of-it moment that then leads into track 6 "act iv: fckin u (18+)", the song is this hyper-sexualized song that sounds like it would never play on the radio but humorously bleeps out words that aren’t radio friendly and covering up probably the boldest lines a man could ever say to a woman as a compliment, "I can't stop f##kin you because your body is like a prostitute". Maybe we have to different ways of serenading the ladies because Jodeci would never.
Track 7: act v: there goes another vase. I think this is my least favorite song. The lyrics just lack that connection between the feelings he’s trying to describe and the way he sings to express those feelings. His tone is very deep and passionate, but the words seems very surface level. Also, I didn't like how he incorporated the vase into the song. It was too direct I would've liked to see the vase be more of a symbol or just an overall better line. I do think he executed the melodies of the hook to perfection. It's a song about a toxic relationship, yet it has this hold your woman tight and slow dance feel to it, which makes it that more confusing.
By the time we get to Track 8 the flow of the mixtape starts to get better, “act vi: mad man probably has the best transition from feel that carries from song to song. This song is more of a passionate intimate track I would say making love rather than Track 6’s feel of promiscuous sex. It’s the acoustic guitar that has this Latin, passionate feel and sets the tone for the track, 4batz comes in smooth jumping from bar to bar like a nursery rhyme, I oddly hear The Weekend in his town when singing the hook. The hook competes with the smoothness of the verses rather than complementing it, making it just an OK song.
No R&B album is complete without conflict and that’s exactly what 9 is about, "act vii: all we do is argue, argue” comes in with 4batz sounding like he’s imitating Michael Jackson, the short quick bursts of his voice overshadow the slow-evolving production of the track, but is immediately forgotten about as soon as the beat drops. The conflict, which on this track is, you guessed it, his lady, it’s the first time we notice that he’s rapping more than singing on a track. But even with all these things going on, it still doesn’t feel like a complete song.
Throughout the tape 4batz seems to borrow vibes from earlier generations, this is very apparent in Track 10 titled “act viii: i hate to be alone” The song sounds like it samples Luther Vandross’s Always and Forever”, and again also speaks to him tapping into those nostalgic songs from the 90s and earlier eras and putting his spin on them. The song is his attempt at a Love Ballad but is executed more like a late night informercial for BET Lover’s Greatest Hit album. I don’t think Love Ballad’s are his lane. It calls for a vocal performance and vocal range that from my knowledge he doesn’t have.
The album ends with “act iii: on god? (she like) (remix), which we stated before could’ve been left off the album. It sounds like Kanye just sent the verse in an email, and 4batz knew that people seeing Kanye’s name alone would be enough for the song to be a hit. It’s not a hit. But it’s also not my mixtape to live with.
Is 4batz an industry plant. Who knows, but as far as his new mixtape I would say that his rise to fame is more formulaic than traditional. The mixtape is made more for streaming playlist consumption where each track can be singled out instead of a cohesive body of work. But maybe that’s what people would say a mixtape is. It’s an introduction and not necessarily a story that an album would build, which would be very opposite of Drake who changed the way mixtapes were made and consumed with the release of his “So Far Gone” mixtape. As for 4batz u made me a st4r the mixtape seems to be filled with deep feelings sung subtly enough that you want to hear more but not deep enough that you would play them to get through different events in life such as a break-up or job promotion. These songs feel like skeletons of what great songs could become and are more reference track like than full complete songs that an User "U Got It Bad" or even a Toni Tone Tone "It Never Rains in Southern California". Maybe technology is a little bit to blame for how we consume music and the abilities it has given people who you wouldn't think of as singers. But I have to also give 4batz his credit, he knows how to make a song that gets your attention, some it by pulling on those old strings of rnb classics. Final thoughts, though it may seem like I may have bagged on this album a lot, I would still consider it a good album because of it's formulaic singles that make it easy to place on different playlists. Overall, I would give it a 5 out of 10. OK to listen to but not replacing any of User’s albums any time soon. Let me know what you think of the album: |
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