 Hip-Hop is an ever-evolving genre especially when you compare it to more traditional music like country. From its beginning it’s splinted into different sub genres from the boom-bap that started it all to crunk, drill-music, and the most recent, pain music. Pain music at its core is still very much hip-hop because they both are able rooted in the people. Artist like Rod Wave and NBA YoungBoy's have been able to tour the world with this new form of music because of the way the music connects to their fans. EBE TD is an artist whose pain music is helping him gain recognition from fans and peers alike. Now he’s back with his latest single “Lost & N Luv”. Let’s hear him out. As soon as the first few seconds of the song go by, I could do nothing but think that this beat touches on familiar notes of songs past, it feels very drill music like. as if it came from a song that I've heard many times, and even if not directly sampled then maybe a commonly used beat pattern, with quick snapping drums and hard percussive endings. But it's not only that this beat feels and sounds familiar, it's also that it feels safe. Like I would expect him to rap on this beat. I would’ve liked to see EBE TD try something a little more outside his comfort zone. The beat treads down such a beaten path that it makes the track more of a passive listen then something new for the listener to be immediately drawn to. Not every song has to make you feel really happy or really sad, but the great songs do. “This 50 making drummer sounds” “Lost & N Luv" Lost & N Luv stays true to the essence of pain music in that EBE TD tells the story of a lady that betrayed him, but ignoring the signs because of love. EBE TD’s pain comes through as his melodic flow is followed by bursts of lyrical emotion that comes through in lines like this one, "Can't believe I had a cobra, laying right beside me." Contrary to the beat mentioned earlier, it's his delivery that saves the track, at times his voice becomes more prominent than the beat and truly more enjoyable. He also dropped a video to accompany the song, which is as graphic as the bars and follow the songs story of betrayal. One scene plays out like a horror movie where EBE TD's henchmen can be seen holding a power tool as a terrified former love interest awaits her fate. Check it out for yourself. I think the content and lyrics of a great song are there. Let us know what you think of EBE TD’s new song “Lost & N Luv".
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It's a great time to make great music. That's what people may be failing to understand. When times get hard and people begin to lose hope, music has always been a vessel to carry people through those times. Music has the power of giving light in a time of darkness or creating a call-to-action to the restless. History is passed down through music, and great music continues to make history, it continues to make people feel. Nia Moné is an artist looking to bring that feeling back to music with the release of her new single "Veins". Let's get into just how deep these feelings go. Sonically, this track has inviting instrumentation that feels like very much straight out of a high school prom where the anti-cool students form a band and the lead singer gets the popular girl. The lead guitar immediately asserts its authority on the track while the drums play as right hand man and enforcer of structure. Keeping true to that rock band spirit there are times when the vocalist Moné breaks from singing allowing the instruments to take centerstage as the drum becomes the lifeline of the track. I can literally see the crowd dance as the lead singer runs to kiss the girl and make her cry. Moné paints love as this addictive drug that courses through her veins, her lyrics stating headaches and withdrawals as side effects of this drug, as well as being unable to break this addiction even through the use of other drugs. Her vocal tone has this euphoric feeling that she expresses through numerous runs and repeating lines. As the drug takes it course you hear Moné in waves of emotionally driven highs and lows, in one line stands out is when she says, "you just got here and you're already leaving", this expression withdrawal is amplified as she sings the chorus, which then sends to lead into Moné going on a drug induced trip as the drums mimic a pounding heart that is feeling the effects of the drug. So powerful is this drug that Moné again wakes to sing a powerful wave of chorus driven emotion, which ends in fragmented cooing. By the time we get to the second drum break the drums feel like rhythmic chest compressions fighting to keep Mone alive. Love is a powerful drug! You can't deny great music. That's what Nia Moné's new song "Veins" is. Give it a listen and let us know if you get the same feelings! 
There are a lotta steps on your way to greatness. For some that means the path is straight forward, while for others that might mean a few twists and turns. No matter how fast you get there, the journey will be just as enjoyable as the destination. Theologic proves this on his recently released track called "Stepping Stone", an audible journey on his way to greatness. Let's take a listen.
The beat starts off with this slow playing guitar that literally leads the listener like a steppingstone to the next bar. But by the 2nd bar it's full hip-hop, the beatboxing, then the record scratching, and of course you've gotta have a kick drum and snare, these are all the elements of a hip-hop track. Who would've thunk that Theologic was also the mastermind behind this crazy beat that is emphatically inspired by the early boom-bap hip-hop production. Theologic is a student, and this is just one of the many lessons he shares with his listeners. This medicines taking it's time,
Theologic keeps true to the very hip-hop style by being very technical in his delivery and chopping words very much like hip-hop's early pioneers while also being very crafty with his wordplay by stringing together tongue-twisting bars. Ironically Eminem also has a song called "Stepping Stone" off his Kamikaze album by which Theologic pays homage to the legend by including a line from his hit single Lose Yourself. One thing that could've been executed a little better was the ending chorus/bridge. I realize with this song he's showcasing his lyrical skill, but a chorus can also be the difference between someone being good at rapping and someone who makes great songs. When he starts serenading the listener it gives the track more of a folk-lore type of feel. This is where sometimes doing everything isn't the answer, I would've liked to see him outsource this to possibly a female vocalist to counterbalance his hard-hitting bars and delivery.
The song is good. There's a lot of elements of hip-hop and technical rap skill in this track. It has a very creative execution that keeps you engaged, and I can truly say that it's very unique. Go listen to Theologic's new track "Stepping Stone" for yourself and let us know what you think!
Follow the Theologic on social media:
Instagram: @akatheologic Spotify: Robert Roland tha Theologian / Theologic YouTube: Robert Roland tha Theologian / Theologic 
In all my years listening to rap music I have never heard anyone flip the song "Girls Just Want to Have Fun", the hit single from Cyndi Lauper. It seems like the furthest sound from any hip-hop producer's record collection, and they would never even consider sampling it, but that's just what happened with Jay The Icon's new single "123" featuring 130 DollaSign. And I have to say, that I'm not mad at it. The sample itself exudes a fun bright upbeat feeling, which is further amplified by the synth chords and supporting clap. I would've liked to see the beat a little more stripped down, there are times when listening to the production where it becomes too busy, one example of this is when the chorus where the words get lost in the instruments added to the production. Not terrible, but room for improvement. Jay The Icon starts off the track with the chorus using the age old adage, "1 for the money, 2 for the show", but after that Icon puts his own twist on the saying using 5,6 to talk about his height while also continuing the sequence of counting. Icon has a great pen and is able to go from bar to bar with ease, I think in that though, I would like to see him leave room for the track to breathe, so that not only the listeners aren't overstimulated but also help put more emphasis on the bars. Jay-Z learned this lesson early in his career when his flow switched to from a fast-passed technical to a now more strategic and substance driven. As an artist there can be a tricky balance between showing skill and entertaining, Icon can do both, and he still does entertain in the verse with some really clever lines. One line in particular I liked was, "thinking you're that nigga, you're an extra off GTA". That's a hard dose of reality. I had to laugh at that one. The other featured artist on the track is 130 DollaSign. His flow immediately reminds me of a Lil B where his words aren't exactly on beat, but surprisingly it actually sounds good, and because of that he really shines on this track and is able to deliver on not only flow but also his bars. An example of this is in the line, "I've been making plays like I'm Popovich", not too many rappers can put Popovich in a rap. As he continues to rap he switches gears to a faster flow and begins to speed thru the rest of his verse fitting in multiple metaphors in a short amount of time. I worry they may get lost on a listener who isn't actively listening, but maybe that's what the second listen is. 130 DollaSign is definitely now on my radar. All-in-all, this is a fun song that has some really good raps in it. Give this a listen and let us know what you think about Jay The Icon featuring 130 DollaSign in their new single "123".
Follow both artist on social media:
Jay The Icon Instagram: @officialjaytheicon Jay The Icon Spotify: Jay The Icon 130 DollaSign Instagram: iam130DollaSign 130 DollaSign Spotify: 130 DollaSign 
When everything isn't what it seems. That's what I truly like about music. The metaphors, the double entendres, the stories behind the bars. That's what makes hip-hop music so great. Meaux Pesci is an artist that has used some of these tactics, to first create an amazing song, and second to drop bars in a way that hip-hop word technicians truly appreciate. As an artist he has created a sound that has set him apart and nullifies any "Every artist from Oklahoma sounds the same" propaganda. Hailing from Lawton, artist Pesci is back with his new single MIRAGE Or LIE. Let's get into it!
The beat's foundation was created from the soulful sample of Tony! Tony Tone!'s smash single "Whatever You Want". this gives it that 90s feel good vibe, that is further built upon when the chorus comes in, even Pesci can't help but to sing. The thing that brings this beat into the future is the laser percussion synth that creates this layer of complexity, it sounds like a triple-beam pointed HALO weapon, it's distinct sound counteracts the samples slow pace. One thing that really caught my ear about the production is how the kick drum blends in with the piano in this 4-beat tango that is first present and then fades as the beat continues. Enough with the production. let's get into some bars! Meaux Pesci is an artist that's batting 1000% at this point. He doesn't miss, and this track is no different. His player-like delivery from the very beginning read like luxury raps with his mention of secondhand Za smoke and the luxury cologne Baccarat that costs $500 a bottle. The Za, plus the cologne, luxury shit. He also fits in a clever couplet with his use of the word "dodge", with first bar speaking to a person getting out of town or dodge, and then the second line stating that his car being in a 2SS Camaro which is the luxury-tier version of the car, which the V6 Dodge that some rappers lie like it's a lot, can't compare to. A common thing throughout his verse is the way he repeats certain bars at times reiterating and as well as slightly adjusting the wording giving the bar a different meaning, similar to a mirage, you think you've heard it before. This track is short but has lots of depth, hopefully it's the beginning to more music and a full-length project. Like I said. Meaux Pesci doesn't miss. Give his new single "MIRAGE Or LIE" a listen and let us know what you think. 
D'Angelo his art was so impactful that with only 3 studio albums he was able to define a sound that would be the soundtrack for so many. It's something about hearing his tracks that unlocks your soul. DeCook is an artist from Desoto, Texas who is looking to recreate this soulful feeling with a little bit of Texas with his new single Dangelo.
The production starts off with the familiar chords from D'Angelo's "My Lady" combined with the track's backing vocals of D'Angelo singing "My Lady" but sounds more pitched up than the original tracks. This familiarity grounds the track for listers, but also producer XtraFlyMusic added his own twist to the track that created new territory for listeners to explore. The beat seems to compete at times with the high-pitched up-tempo vocals which are then anchored by the original tracks familiar chords. Also, the use of the kick drum and snare give it a very hip-hop texture. This lays the runway for De Cook's words to take off. "I don't see nothing coming in between us
De Cook masterfully cooks on this by not wasting anytime on a beat that's already preheated in familiarity. "I don't see nothing coming in between us but this interface", this is just one example of his vivid bars that paints the picture of the relationship and activities that De Cook raps about. He has a presence on the track that gives credibility to the bars, he's speaking from experience and not artistic liberties that are sometimes put in raps. "I crossed the gunline just to get them panties", not only is it connecting the previous bar of "I the papi", but it also tells that he's going to great lengths such as going into rival neighborhoods for a woman he is entertaining. Lastly is the chorus, it has this one distinctive part that sticks out when he says, "She think that we in Miami, we in Dallas", this bar alludes to the fact that De Cook is able to show his lady the finer things that Dallas has to offer.
The track is rooted in nostalgia with a Texas feel. Make sure you give "Deanglo" by De Cook a listen. 
The world is round. Now whether you believe that it's flat or not is up to you. What we can agree on is that there's no sharp corners. The world is a sphere, and with the internet, this sphere is getting smaller and smaller. But also, Sphere can mean a subject or knowledge. Both can be true and that's what DialTone is proving in his new single Sphere. Not only is he an artist whose music is literally being purchased by listeners around the world, but he also is an artist that knows the music and cultural sphere well. Sphere has not been officially released as a single but it's a part of a larger project called "637" that DialTone released on October 16, 2025, it's a pivot from the streaming service upload and is exclusively on BandCamp. The album is 15-tracks of great music that can all stand on their own. Sphere in particular is the 10th track on the album and feels like it comes at a turning point in the project sonically. Let's dive a little deeper. 
The flute is very distinctive on this track, which is ironic given that on Google's main page a picture of a various flutes to symbolize November being Native American Flute Month. Throughout the track the flute has these long draws that keeps the listener wondering what's going to happen next and also creates this sense of depth that allows for the bass and kick snare to fill in. It's also the subtle things like the flexatone that appears in each bar that gives almost a visual of a lowrider car. The beat feels like this West-Coast hyphy-era production that takes over you and is the perfect set up for DialTone to rap to.
As the earth rotates,
Let's get into the raps! Dialtone has always been one of the best rappers. He's very intentional with his raps and drops stories in his bars as well as quotable lines. I would say he's a rapper's rapper because many love his style and see the skill that he crafts into every track. With Sphere he doesn't disappoint. With this track I think he's having fun with it, from his tone to his flow, to his delivery, it's real-life raps and when it's real life you don't have to overdue it. And true to the nostalgic feel of the beat, DialTone also plants references of nostalgic times in his life like copping the 2 for $84 shell-toes that was made popular by hip-hop group Run DMC and continues to be that iconic hip-hop sneaker. As subtle as some of these bars may seem, to know DialTone as an artist is to know that nothing is as it seems. Like in his paintings, there's always a deeper meaning that one day you will hear the story about, (if you're cool enough.) Dialtone let's the chorus be the star of the track, even at the end the chorus becomes sort of a chant that he says continuously. That's what makes a song memorable, and is a formula for success!
There you have it. Sphere! This is an amazing song that is sonically pleasing from the production, as well as dope raps and flow from Dialtone. Listen to the track and let us know what you think! Listen to Sphere
Follow Dialtone on social media:
Instagram: @tonesbeach BandCamp: No Parking Studios Spotify: Dialtone 
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  Eastside Stories. Which Eastside? Tulsa. A side known for its culture that has truly become a melting pot of the city, but one thing to note, is that the Eastside is not sweet. It’s an underfunded part of the city, but with that, means you have to go create your own opportunities. Da’juan Dupri is an artist from the Eastside of Tulsa who is claiming the East as his kingdom and he’s got some Eastside Stories to tell with his new video, "Eastside Stories”. Let’s check it out! What sets Da’juan Dupri apart from most is that he’s not afraid to put himself out there. There’s been numerous times where he’s come off stage and he immediately starts talking to his fans. There’s been times where he’s been deep in conversation and then 2 seconds later, he’s onstage rapping. Even with such an incredible talent, he's still personable and has a wide network of fans, peers, and enemies. He's also not afraid to stand on business, or jack a few beats. That's exactly what he did when he dropped his tape Eastside Stories. But let's get into the title track. They been acting brand new since Illuminati called From the opening bar, Dupri knows how to hook you in. Illuminati???? But luckily, he calmed everyone’s nerves with the next bar. Throughout the track he conveys his affection for the Eastside's culture by mentioning things such as double cupping a horchata or incorporating bars that showcase his knowledge of historical Eastside landmarks. I also appreciate his lyrical genius. He got bars!! I consider myself a bar aficionado, and sometimes Dupri’s bars are so double entredred that it has me rewinding the tape, like this one; “Covеnant and blood ties, this one herе like riding bikes”. Come on, come on. That’s Dupri. Bars!!! The song has this energy that reminds you of those Cash Money days of up-tempo bounce music mixed with synths and drums. The video. I’m definitely happy that Dupri dropped a video to this song, also that Bezel365 is in the video. Creatively I wanted a little more, it’s a lot of quick shots and a few car dashcam shots. I would’ve liked to see a few more shots of the Eastside. Maybe some of the places he mentions in the song. There are a few subtle things in the video I did like, like when he rapped the bar about the dark going to light and at the same time the screen went dark to light, I also liked the quick cut to the nighttime surveillance shot, I would’ve liked to see a few more of those shots incorporated into it. But also with all that being said, the video felt more like a teaser/visualizer than a full blown video. I’m not saying that he needed to have a Cash Money style video, but just a few more scenes from different parts of the Eastside would have helped the stories come to life. It may seem like I’m being critical of Dupri, and maybe so. But just how coaches are more critical of their best players, I feel like I’m using that same criticality when it comes to Dupri. I see greatness in him, and I feel like he’s this close to striking gold. All he has to do is to keep swinging for the fences. So enjoy the video and let us know your thoughts on “Eastside Stories”: |
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