Men lie. Women lie. But numbers don’t. Everyone remembers this bar from Jay-Z’s song “Reminder”. And that’s because it’s true. But to lie to someone’s face that’s a whole nuther thing. Again, both men and women lie. But the numbers don’t. And two artists that have the numbers on their side are the SAIKKO Twins, made up of SAIKKOMIKE and SAIKKO 10. Who have dropped their new single “Lie 2 My Face”.
The first notable thing about the track is the acoustic guitar. It kind of catches you off guard and makes you wonder, How can this be a rap song?”. This is giving John Mayer vibes. But as the beat drops you immediately go “Ohhh!!!,” that’s how. The 808 beat brings the track back to more of a rap infused vibe. Then we get into the bars. First up is SAIKKOMIKE. Who comes in with the chorus. It’s a real vibe that sets the tone for the whole track. It talks about staying down for someone, but they still lie to your face. One bar from SAIKOMIKE really sticks out is when he says,” And I was just writing my story, but how me and you ain’t on the same page.”
Part of being a brother is knowing how to share. In this case, it means that SAIKOMIKE and SAIKKO 10 both share the spotlight, in which both are able to shine on the track. SAIKKO 10 comes in on the track like a relay racer who takes the baton and runs around the beat. He pours so much sauce into the track that his voice creates its own beat at times while still being able to ride the track’s beat. It’s dope to see his brother and friends join in on his verse and use the same mannerisms that he uses when he's spittin' his verse. From the very first bar, he catches your attention with a clever metaphor. “All that shit was science fiction. I can even tell a better story. And now that you have my back like Jesse and Woody, a real-life Toy Story.”.
Lie 2 My Face shows how two brothers have each other’s back even when your girl is tripping. The song showcases both artists’ songwriting abilities as they seem to effortlessly weave through the track while making complex structured bars seem easy, so easy that the listener might miss it if they aren’t listening close enough. What’s most important about this track is that it makes you feel. Whether that’s a feeling of happiness a feeling of sadness, or just vibes. But that’s art. It makes you feel either way. So go listen to Lie 2 My Face by SAIKKOMIKE & SAIKKO 10 and let us know what you think about the two twins looking to take over the industry.
Make sure you follow SAIKKOMIKE and SAIKKO 10 on all their social media:
I came across this clip on SnapChat where Gillie was on his podcast Million Dollaraz Woth of Game talking about rap. What peaked my interest in this video was that he stated that it’s OK to get help. Not only is it OK to get help but the fact that most artists get help. He even goes on to ask, “Why when it say written by, does it never just say his name?”. Let’s breakdown some of the most iconic hit songs to see if there’s some truth to Gillie’s words.
In any other genre ghost writing is the norm. Look at Beyonce’. She has collaborated with so many songwriters including her husband Jay-Z. One example is Halo which was written by Ryan Tedder of OneRepublic. If Beyonce’ can have help. Why can’t rappers? Look at one of the most iconic artists ever, Elvis Presley. He’s always had ghostwritters who has helped him create some of his biggest records like “Hound Dog” and “Jailhouse Rock” by Jerry Leiber and Mike Stoller (two black guys who everyone says Elvis stole the songs from). But If Elvis can have help/steal songs. I think you see the pattern here.
DRAKKKEEE!!!!! Everyone remembers the Quinton Miller controversy with Drake and Meek Mill. But in actuality the less talked about part of making a hit track is that often it’s not just one person. There’s usually a writing team. Drake even let it be known that on his new album “Her Loss” (which is a collaboration album with fellow artist 21 Savage) him and 21 Savage both wrote bars for each other. But it doesn’t stop there. GloRilla has one of the hottest runs going on and her new single “Tommorow 2” is an example of that. When you look at the ‘Written By’ section on Genius It features GloRilla, Cardi B, Macaroni Toni (who is the producer) and Pardison Fontaine who is a known ghostwriter for Cardi B. Coincidence. I think not. But again, this is one of the biggest hits of the year.
But ghost writing has to be new right? Back in the day everybody wrote their lyrics. Wrong! Here’s a few surprising songs that had ghost writers. Everybody remembers Will Smith’s hit single “Gettin Jiggy With It”. But did you know that Nas actually was the ghostwritter behind this hit? Yes Nas. When you’re talking pure hip-hop, it doesn’t get more hip-hop than Nas. But like his album said. It was written. Also everybody remembers Still D.R.E. A classic west coast hit that featured Dr. Dre and Snoop Dogg together rapping once again. But did you know that this track was written by Jay-Z??? What?? An east coast rapper ghost writing for a west coast rapper. Now that’s one hell of a plot twist. And I can go on and on. It doesn’t matter what generation you're in. A hit is a hit. And most likely that hit took people to help write it.
It’s really only in hip-hop that there is this stigma against getting help when it comes to writing a song. But the question really comes down to. Would you rather have a hit? Or would you rather say, I wrote a song on my own”? Only the artists can answer that question. Because to the millions of fans still streaming the song, it doesn't matter. In the interview Gillie went on further to say that, "Do you have a hit record? Because at the end of the day, That's all that fuckin' matters. Nuthin else matters!"
Do you agree?
Leave a comment below and let us know what you think.
Also watch the episode of Millon Dollaz Worth of Game below:
Nas Is Irrelevant
Nas is Like.. I remember hearing Nas. The rapper who took the game by storm with his debut classic album Illmatic. Admittedly I was too young to remember that album. First of all, I was young in 94. I was listening to rap of course, but I live in Tulsa. We bumpin' West Coast rap like Snoop Doggs Doggystyle. But when Nas did come onto my radar was more around the album “It Was Written” with the hit track “If I Ruled The World (Imagine That)" that featured one of the queens, Lauren Hill. It was with this breakout record that Nas really was introduced to a wider audience with this crossover track. The kid from Queensbridge was well on his way to being a legend. But that was 1996 and this is 2022. The crazy thing though is that Nas is still putting out classic tapes. But is Nas still relevant? 21 Savage had something to say that stirred all the internets up during a Twitter space conversation where he said, "he isn’t really relevant anymore.”.
First I couldn’t believe my ears. The Nas slander. Had he not heard the classics he had put out? Had he not heard the King’s Disease series? But then I had to sit with it and really analyze things. Is 21 Savage talking about longevity or popularity? These are 2 totally separate things. First, we must define the word relevant. One of the definitions for relevant are appropriate to the current time, period, or circumstances; of contemporary interest. So with this definition is Nas still relevant? I say yes. Nas’s new album King’s Disease 3 garnered media attention from all the major publications from Pitchfork, to Complex, to Genius, and the list goes on. Then there’s social media where Nas and King’s Disease III was a trending topic on Twitter and also showed up on the Explore pages on Instagram. Is this not relevantcy?
If what 21 Savage really is talking about is popularity, then that I can’t argue with that. Nobody is really playing Nas's songs in the club. But that’s never been Nas. He’s never been a single type of artist. He’s always made cohesive albums that has helped him build a loyal fanbase and longevity. But that’s what’s so great about Nas. His music is something that people go back to and listen. I don’t think too many people are going back to 21 Savage’s old albums and listening. He really doesn’t have classic albums that have that replay value. Which albums last longer than singles and albums usually translate to album sales. People are more likely to buy a nostalgic album, than buy a nostalgic single because you can stream a single on YouTube for free. But with a nostalgic album, you breathe it. You live it. You are emersed into it because it has songs that are relatable and that you can play in every scenario in life. And that’s what NAS DID!
But what about the numbers? Like Jay rapped. Men lie, women lie, numbers don’t”. Let’s look at the numbers. The project, which is entirely produced by Hit-Boy, managed to move a total 47,000 units in its first week. Of that number, 28,000 were streaming equivalent units (aka 36.17 million on-demand song streams), 18,000 were pure album sales (boosted by merchandise/album bundles) and 1,000 were track equivalent units. It was also Number 1 on iTunes US Albums chart. If that’s not relevant I don’t know what is.
But at the same time 21 Savage gave everyone the ammunition to set the internet a blaze. Let’s be real. He never disrespected but he did disrespect the fact that artists can be relevant without being in your face every day. And that’s what NAS DID.
So, is Nas still relevant? The numbers speak for themselves. He’s more relevant and he’s still putting out classic albums. Just because it's not in the club doesn't mean it's not charting. 21 Savage should be glad that Nas is still relevant because it can only help him as he goes into the later stages of his career. Nas is showing you the blueprint. And we didn't even talk about his Angel Investing which has helped him make way more money than music has. And that's something 21 Savage can definitely learn from. If you still don't believe me, go listen to the King's Disease III album.
Leave a comment and me know what you think.
album Review: Sincerely by K.O.
She is K.O. This isn’t only a social media handle. It’s also the perfect phrase that describes the artist from Enid Oklahoma who has been nothing short of a knockout. From her style to, to her music, to her street marketing. Since her first record, she’s truly kept the game on the ropes while she has dropped hit after hit. All the while parrying from the snakes and the fake drama that artists use nowadays for clout. And it's with her latest release Sincerely that K.O. is truly showing the world how being genuine is enough to take you to the top of the game. And do it without compromising yourself and most importantly, your art. Let’s check out Sincerely from K.O.!
“The only time that Ima clench is to embrace my gifts”
The album starts with “IDK Noting”. “The only time that Ima clench is to embrace my gifts”. Which clench is also a boxing term for embracing your defender so that they can’t throw any blows. But K.O.'s defence is also her offense. The track uses a sped-up sample from The Spinners 1973 hit “Could It Be I'm Falling In Love”. K.O. shows a lot of Intrapersonal intelligence, she has experienced a lot but is still smart enough to know that she’s still learning, which is a continual process. OR as the Socrates quote goes “The only true wisdom is in knowing that you know nothing.” There is a lot in this track, just in the first 2 minutes, so it is surprising that the beat actually switches to somewhat of a whole another song. A song within a song. It’s a lot slower than the first but K.O. still shines and shows just how talented she is as she sings. “I’ve been stressing for a long time.”
As we get into track 2 which is “Black Cinderella” we are instantly thrown into a vibe. It feels like that nighttime driving, swangin. But when K.O. comes in she lets it be known that she's here. She mashes on the gas as she spits bar-after-bar. Toward the end of the track there's no doubt of the Houston inspiration as the backing vocals take on this Screwed up persona. It takes us on a ride to then another beat, and a more elevated state as she sings “None of it matters when I’m this high”. It’s like she has Angels backing her. But don’t think you can’t get that heavenly flow from her either. She got Goddess bars. The track overall is about that feeling or maybe the feeling of being numb. Both beats convey two different drugs, lean and weed, but mixed together the feeling they create is a totally different high.
Jumping in to Track 3. Immediately as the chorus begins for “Like That” the back of your mind goes to Kodak Black’s “Like Dat”, which is one of the songs that helped propel him to stardom. K.O. put her own spin on the track. The heavy 808 kick, breaks up the listener's thoughts clearing a path for K.O. 's bars. She walks on the track. It reminds the game that not only does she have bars but also K.O. ain’t afraid to flex too. The track seems to follow this developing formula of; the first song, skit, then a completely different second song. In this case, the second track still has the noticeable 808 kick, but the track is a slower tempo and smooth feel. It’s almost like she realized she needed to slow it down for a little cause life has been going that crazy. It’s like she reminds you that it’s ok to take your time. We got a whole album. I like how she gives the beat time to breathe at the end and lets it fade out. There's also a video to go along with the song, check out the video to “Like That” below:
Track 4 “BirthRight” is such a braddagious track. It showcases her lyrical ability. From the flow, she uses, to her versatility in the way that she switches up her flow to something completely different. Just listen to cadence in her voice and how she hopscotches from bar-to-bar. She murders the beat like she’s coming to get everything that’s owed to her. By the time you get to the second part, it’s like asking forgiveness because she didn’t ask for permission on the first track. The first part was the funeral, and the second part is the wake.
“ This nigga insane. He want me to be Coretta, When I’m really Gucci Mane.“
If you really want to hear a song that is knocking. Then the beat on track 5, “Too Often” is one you gotta listen to. It’s a track where you can hear K.O stretching her words and having a more animated flow. It makes the lines hit that much harder. One of my favorite lines come from this track, “This nigga insane. He want me to be Coretta, When I’m really Gucci Mane.” I had to hit Pusha T "Yuugh" when I heard that line. The track is definitely a radio hit. The beat, to the bars, to the chorus. This is that one. When the 2nd half of the song plays it settles down as K.O. sings about her insecurities and everything that takes away from her confidence, but that all stops when she switches up and starts rapping. It’s like she reminds herself that she’s the Illest Bitch Alive. “Lost niggas that I loved, that’s alive. I read the eulogies.” Made me hit another Pusha T "Yuugh".
“Special” is the name of track 6 and it’s about talking to that special someone in your life and letting them know how special they are. Because oftentimes we do get caught up in our day-to-day and forget about this. The song just feels good. Plus, it’s backed by some clever bars, “And I been prayin’ throwin’ pennies in the wishin’ well, but if this is not where you wanna be then ima wish you well”. Jay-z voice "Wishin' Well, I wish you well.. Damn. K.O. Did! Then the track switches to a more somber feel of K.O rapping about a relationship that went bad and turned for the worst. Thinking of the times you put them as a priority. But she ain’t gonna cry about it. She lets the guitar do it for her. As ends the track talks about a few things she gonna do to get over them.
"Chillin Wit No Makeup On" is the title to track 7 and is also that one line everyone remembers from Drake’s debut single "Best I Ever Had". And just like the title, the song is about expressing how you feel. I would’ve actually expected this slower track to be on the backside of another track if we're using the formula we’ve been using throughout the project, but it’s actually a nice switch-up. It’s no wonder why this song has been released as a single with the only difference being that the single version is only the first part of the track. So, when listening to the album you notice the skit and the 2nd half of the track when the beat switches to that drunken text type of vibe. And you get some dope lines, one in particular was so dope, she even had repeat it twice. “Love ain’t for sale, but I just might let you rent it.” The song still continues that chill vibe of just quality time and laying up. Take a listen for yourself.
Track 8 “Low/Cabaret” is the only track on the album that gives you an indication in the title that there are 2 parts to this song. The first song on the track "Low" sounds very performance arts dancer-ish. Aka. This sounds like it’s for them scrippas. She chants repeatedly “Keep it from the low from me”, like to say protect my heart by not telling me what you doing out here in the streets. Ignorance is bliss. But also this is that sneaky link anthem. The song sounds like you in one of them Houston strip clubs and all your worries are behind you. It's just you, the dancers, and the liquor that keeps talking to you in a screwed-up tone. I love how she incorporates that Houston this sound into her music. It gives so much character to the track. By the time the first track ends you realize there is no voicemail. So when the second track kicks in the track speeds up as K.O. sings in an autotuned voice that creates this rounding repetitive chorus. You thought we was with the scrippas before. This is the VIP anthem. And just like some people's pockets the song ends shortly making it seem more or less an interlude to the 3rd song. You heard it right 3 songs in one track, and this one is a slower pace, it creates a balancing act as her voice tightrope’s each melody balancing with an accompanying accosted guitar. Her voice sweeps you away. It just leaves you thinking. Damn. What can’t K.O. do?
“Love songs about love”.
Take em to church. That’s your immediate thought when “Love Songs” comes on. The actual song sounds like she’s searching. Never finding love. But still searching. With each bar building on top of the last lost love and painting a picture of the deep heartbreak. It’s a hell of a journey. The second part of the song is K.O. seems to be about running toward the things that aren’t good for you while running away from the things that you know you have to do. You know the hard things. This song again shows her songwriting abilities she goes from singing into rapping so effortlessly. She speaking gospel on these tracks, “I just wanna wake up to like no stress, And like great sex with no latex.”
“I like niggas built like a gods, I like bitches by the twos”
“Slide”. Now this is something you can dance to. It has this bounce to it but is smooth enough that you can get on the dance floor and just feel the beat and get lost in K.O.’s voice. She even gives us a couple of bars. This one, in particular, caught my ear, “I like niggas built like gods, I like bitches by the twos”. The second part of the track plays a familiar r&b sample I can’t put my finger on it, but I found myself humming it. But back to the song. This song is K.O. calling out to God. It’s a really deeply personal song. Almost is if she's asking the question. Does God hear us when we pray? I believe so.
The last track on the album is "Calabasas". When you make it this far in the album you realize the journey you’ve been on. This happens to be the shortest song on the album. I think the title Calabasas suggests this luxurious place in the hills of California where the whole team is shining. But throughout the song I think it’s K.O. realizing that she’s still very much on the way to Calabasas but it might not be the picture she dreamed it would be. Meaning maybe not all the people you thought was gonna be there will be there. But it’s the journey of getting there that’s really what’s worth it. Because even if you fall short you still might end up in Beverly Hills.
So, there you have it. Sincerely. By K.O. The album is a beautiful piece of art. Just looking at some of the facts. It’s an album with 11 tracks, but this is a little deceptive seeing that the album could be a double disk where you could literally take a knife and cut each track in half and literally have a second album. This means that the album could’ve easily been 22 tracks. What’s most surprising about this is that there are no features. It’s K.O. featuring K.O. meaning that she uses her voice in so many ways on this album. From singing, to rapping, to switching up flows, to autotune. You get to see her artistry in this album. We also saw that It's an album that had this recurring formula of 1st part, a then skit, then second part a completely different beat. It just kept the listener always guessing what could happen next, a skit, a song, or the beat riding out. Like I said, this is art. And lastly, you would think that in the world of streaming, an album whose average song lasts over 4 mins could not happen, but then again there’s nothing about K.O. that’s average. So go listen to Sincerly by K.O. and let us know your thoughts.
Make sure to follow K.O. on her social media below:
This past weekend was so dope. The rebranded World Culture Music Festival (now called Dream Land Festival) was filled with everything from a jog, to panel discussions, to live music, to vendors, to a film screening. It was really an amazing sight to see. And all this going on right here in Tulsa. With all that being said I think it’s interesting to see who were the WINNERS and who were the LOSERS of this past weekend's 1st Annual Dream Land Festival.
Tulsa. Tulsa won in the fact that so many amazing people came to Tulsa to spread their knowledge and to be involved in the culture. But what was really win was the people that are movers and shakers in Tulsa getting their recognition and being in the spotlight. That goes for both people in tech as well as the artists in the music industry. There was so much networking going on at the event, it was a beautiful thing to see.
The Artists. I think this past weekend was an opportunity for artists to truly get out and network and take advantage of the weekend. There were literally A&Rs, artist managers, social media managers, etc, etc. There was literally a breakout session to teach artists how to get money called “How To Make Real Money As An Independent Artist” hosted by the co-owners from Build Your Own Dreams. The sad part was that the room was not even half-way full. How don’t you show up to a free.99 event about how to get to the bag? Also when it comes to knowing what time an artist went on not even half the artists had a flier. Not even a post about what time they were performing. How are your fans going to show support if they don’t know what time you’re going on? Also where was the merch??? With this many people here in Tulsa and I only saw a few artists with merch.
Jah The Jedii. There is no bigger winner than her. The artist from Atlanta who has busted onto the scene and made waves with the Ground Waves showcase with rapper Murs where she impressed and got a co-sign from the town GOAT Steph Simon. But wait.. It gets better. She was then given a chance to perform on the main stage on Saturday night. But wait. It gets even betterer! She was then brought on stage by Grammy nominated artist Rapsody who also co-signed her and gave her the mic on her set. The only thing that didn’t go right for Jah The Jedii is that she didn’t have any music out to direct all the fans that approached her after the weekend. But this will change Friday! She’s releasing her first project that will be on all digital streaming platforms! Best believe I’m looking out to see what’s next for Jah The Jedii.
Father. I think he was a wildcard pick. He went on a Friday which in Oklahoma if it’s a workday it’s hard to get us out the house. Also, staying for a concert where the main act doesn’t go on to well after 1am. That’s just not Oklahoma. We in the bed. Which showed during his performance. The crowd had thinned out. But being a true artist Father still rocked that bitch like it was 1,000 people in the crowd. He got to see and meet his true fans and turn up with them. so I can’t say this was. that major a loss. Plus he still got the bag.
K.O. She has to be one of the hardest working artists in Oklahoma. Just look around downtown and you were sure to spot her poster up that had a QR code that let you know everything about K.O. She supported and networked at all the shows. Her performance was crazy. Or should I say performances. The Saturday performance at the main Holberton stage was bananas. She owned that stage. She owned the crowd. She showed why she was so great of an artist. She had fliers telling what time she was going on. She had merch so that you could support. There was literally nothing I can say bad about anything she did this weekend. She won!
Tulsa. The festival brought so much value that it was surprising to see that it wasn’t packed at all the events. This was the time to be apart of the culture and see all it had to offer. I only wish that the highshoolers would’ve came out and seen the black tech crowd. Just to know that it existed in Tulsa. Also to see the artists and producers and the behind the scenes people. There are so many aspiring artists. Instead of moving to Atlanta or California or New York. First find out what resources you have here that you can take advantage of. You’ll be surprised. Especially now with all the money that is coming into Tulsa. This is the time to get educated, to know your land.
The Headliners. LaRussell and Rapsody. Both are amazing artists that got to display their talents to Tulsa. Not only did they show up to Tulsa but they supported Tulsa. They broke bread in Tulsa by supporting local businesses. Rapsody spoke about how she went to Silhouette Sneakers & Art and copped some gear. LaRussell poured into Tulsa on his discussion panel where he talked about navigating the game as an independent artist and how he stays true to himself and doesn’t get caught up in the trends. Both artists gained new fans and probably were exposed to a market that they never thought about. Who knows if Tulsa might become a reoccurring tour stop for them.
The biggest winner was the festival. It keeps growing. It keeps getting bigger. And 1 day Steph Simon will have that Ferris Wheel he's been wanting. It all started with a VISION!
Thanks for reading! Let us know if you have any losers or winners that didn’t make the list!!
Facts! Can be defined as; A thing that is known or proved to be true. So that means there’s no confusion when it comes to what is, and what isn’t. No matter if it comes from the source or it comes from a third-party. The facts are the facts. T3REZZY is out to show the world that everything he says, he stands on. And it’s with the release of his new single “All Facfs Freestyle Pt. 2” that T3REZZY is setting the record straight.
T3REZZY (also known as T3) is an artist from Tulsa, Oklahoma. He’s also invested in his craft and has went all in by dropping music and music videos, though he’s yet to put out a full length project. He’s using this to his advantage by putting out hit singles in order to create a buzz in the streets and gain new followers to his already rapidly growing fanbase. T3REZZY is an artist look out for.
For there to be an All Facts Pt 2. There obviously had to be a part 1 which you can find the video here (Click here to see All Facts)!. The difference between these tracks starts with the production. Part. 1 has more of a West Coast vibe. Also the verse is a little more aggressive and in your face. But on Part 2 has a totally different feel. The track is produced by 2Peece, a highly respected producer from Tulsa who has placements with some of the biggest artists in the game as well as placements with major brands. 2Peece delivers a beat that is similar to the Detroit Drill music that has helped create a new sound. This sound is what T3REZZY excels on.
T3REZZY has flow on the track that is laid back, showing his confidence in himself as an artist but not arrogant. There is still a hunger in each bar that culminates into some really dope quotable lines. “In these Off-White sneaks but the checks Nike” & “I remember missing meals, now we gettin seconds” are just two examples of the numerous quotable lines that are sprinkled throughout the track. There’s no question that T3REZZY is spittin’ All Facts. The song takes you deep into the mind of a hustler. Just steady on the grind. No breaks. That’s why this track not a freestyle in the sense that it’s unwritten flow, it’s more of a continuous stream of thought, that hustlers mentality, and also that’s why T3REZZY says at the beginning of the track, “2Peece I don’t need no hook for this one.” Because this one is for the hustlers. Also on the track is featured artist Kari2Dope. He goes in immediately after T3REZZY finishes his verse like a relay race. Both artists racing on the same team to get to the money. His delivery is upbeat and catchy, making him the anchor to the track just like in a relay. It’s a nice switchup from T3REZZY’s verse. It also showcases his skill and musical ability as you hear his voice ride the melody of the beat. “Two chains on me now, man this is some light shit, you can turn the lights off, and see this lit hit.”
What’s undeniable about this track is that it’s a go. It’s a dope beat. It’s dope bars. It has that right bounce. But most importantly it’s ALL FACTS! This track shows T3REZZY progression as an artist and is just a small taste of what we can expect from him and the new music coming soon. So until that full project drops we’ll be banging All Facts Pt.2. Listen to the track and let us know what you think!
Make sure to follow T3REZZY on all his social media:
YouTube:T3REEZY Tha Don
Shyheim. But many may know him as “ShyGuy” or “ShyGuy From The Northside”. He appeared out of nowhere! But when he hits the stage he raps as if he’s been there the whole time. His ability to create cohesive projects with depth and originality have become a breath of fresh air. And the air is no clearer than on the northside. A place that we so happened to be at on Saturday August 20th led by the North Winds. The destination was Hawthorne Park where Shyheim brought everyone into his world or as he calls it “The Northwind Masquerade”. Here's Shyheim explaining the origins of ShyGuy:
”ShyGuy was created from my trama I grew up not really feeling loved. So I created characters in order to cope. I also hid behind anime characters and cartoon characters. And ShyGuy came out of that. Now I’m bringing him to the public, so that I can rid of this trama. Gotta work with everything in order to make something whole.”
The nostalgia of Hawthorne park set the stage for an event that was the epitome of “do it yourself”. Shyheim didn’t wait for a huge stage to get constructed. He didn’t wait for a massive pyrotechnics setup. What he did do was call on his friends and family to help him construct an intimate setting where the spotlight shined bright on Shyheim. He had his stage. He had his people. And most importantly he had the North Wind.
When it came to his people. What was supposed to also feature Lawrence Leon and his music. Didn’t. Unfortunately Lawrence Leon had caught Covid a few days before the performance. Our prayers and wishes go out to him for a speedy recovery. Another artist Zzaj who is featured on Shyheim’s track “Kaiser” was also unable to make the performance. But was fortunate was the artists Zorro, and another being 7urreal, who is apart of the collective Tribe Luminescent, of which Shyheim is apart of. It was dope watching Shyheim put some of the spotlight on 7urreal. Cause I learned that day that he got bars.
Shyheim. Most know him as ShyGuy and if you've been to any of his performances than you know that they have been mostly done under the ShyGuy moniker. But this performance was different. Throughout ShyGuy’s performance his mask fit firmly to his face while at times rapping in a still reserved matter. That was until we heard the chant. “Tryna leave this box I’m in, break loose (I’m tryna loose)”. With each repetition the chant got louder and louder, until finally Shyheim removed his mask and threw it to the ground. THIS WAS THE DEATH OF SHYGUY. And with that also came the birth of Shyheim Nwadiei. The thing that stood out most about Shyheim Nwadiei as compared to ShyGuy was that from the first bar, there was no question that he had the juice. The way he rapped “Talk to Me” was as if he was stepping into his greatness and finally realizing his gift was for the world and should no longer be dimmed. You are the Light!
From then on Shyheim Nwadiei took over and ran through an impressive list of tracks that ranged from familiar to unheard. Some of the noticeable ones being tracks from his latest album Calls of the North Wind. (Read our Album Review: Shyheim Nwadiei - Calls of the North Wind (tulsalines.com). But the question still remains. Is ShyGuy really dead? Here’s what Shyheim Nwadiei had to say:
“From this day forward. No more being called ShyGuy. It’s Shyheim Nwadiei! Only time you gonna see ShyGuy is at the North Wind Masquerade. SHYHEIM NWADIEI HAS TAKEN OVER!"
Thanks to Shyheim Nwadiei for inviting us out to a dope event. I look forward to the next North Wind Masquade.
Make sure to follow him on all social media:
SoundCloud: I Am Shyheim
Spotify: Shyheim Nwadiei
Guerrilla Warfare. If your familiar with the term, then you know that it is all about non-military civilians who take up arms to fight against larger traditional military. OTS J Huncho named his first album Guerrilla Warfare, and it was all too fitting. The way he seemed to come out of nowhere and drop a tape that spread like wildfire. It was very much like a militia that he was creating, as his fanbase and supporters grew, so did his legend. The one who is determined to put The Hills on the map. And he’s looking to again use his Guerrilla Warfare tactics with the second installment called “Guerrilla Warfare 2”.
The lead single "Lions Den (Intro)" is the epitome of OTS J Huncho. When you hear an OTS J Huncho song what your gonna notice immediately is him. That’s because as soon as the beat drops OTS J Huncho starts rapping. He doesn’t play around with the beat. It’s go time as soon as that bass hits but often times even before the beat drops, he’s going in. Also, an OTS J Huncho song is gonna have bars, metaphors, and similes, all coming at you fast and direct. At times I found myself going back and relistening to a track and catching a metaphor that I might have missed. “I done called more plays than Tom Brady and Tyler Perry combined.” This track is OTS J Huncho. He gonna talk his shit and say it with his chest out. He even put out a video that you can checkout below.
I'm a Gorilla I'm a Dog,
One thing to note about the second track “Elihah Landrum” is that the title is the name of an actual person who is a basketball standout from Central high school that has committed to playing at SMU. The track starts out with a snippet from Floyd Mayweather’s HBO All Access for his fight against Pacquiao. And it’s easy to draw the comparison between the two. Both have a crazy work ethic. OTS J Huncho himself has put out track after track along side with an EP and now Guerilla Warefare 2. Both are also talking shit and backing it up. “One of these lame niggas wifein my head hunter, can’t lie I was mad as the fuck, she cut me off and shit for probably like a month, but she doubled bad cause ain’t shit like the Hunch”. That’s a hell of a statement to make. There’s also has a video that was filmed at the Skyline Mansion which used to be a leader of the KKK’s residence. If Tate Brady wasn’t rolling over in his grave before. He sure is now. Cause OTS J Huncho is posted with his crew all on the front porch. Take a look for yourself.
The next track is “85 South Show”. Which is also the name of a popular show that features comedians from Atlanta. OTS J Huncho even mentions the cast in the song. “Ima a young fly nigga like DC, playing with bitches like Los, and these niggas round here wanna be me, and my brother roll off a chico, that’s a bean if your ass didn’t know.” Not only is the flow crazy. The familiar sample of Drake’s Controlla can he heard playing in the background. This is a song you can cruise to, but at the same time you still get bars. OTS J Huncho is still rapping his ass off on the track. It’s like he never takes a track off.
If you're from Tulsa or just watch a lot of TV then you know that unfortunately Tulsa has a high murder rate. This is one of the reasons the TV show The First 48 chose Tulsa as a filming destination. And looking at the title of track 4 “Home of First 48” OTS J Huncho knows all too well the problems going on in the town. “If from the home of the first 48 where they play with extensions way more than beauticians.” It’s lines like these that tell of just how much gun violence is a part of Tulsa. Even with all the violence surrounding OTS J Huncho his talent is helping him grow into an artist that can help change the Tulsa narrative. “The only time a bitch played me was on the Aux”. The track ends with 4 bars from Big Tike’s culturally impactful single “Drank Up in My Cup”.
“They had them jokes and shit about The Hills,
You probably didn’t know OTS J Huncho was into classical music. Just listening to the beat the familiar samples Beethoven’s “Für Elise” hits your ear. OTS J Huncho must be a classical music historian. OK we’re joking. We’re not sure if OTS J Huncho is a classical music lover, but what isn’t a joke is how OTS J Huncho has repps for The Hills especially on the track "Shhh (G Hills Legend)". “They had them jokes and shit about The Hills but ain’t said shit since the Huncho done popped out. Niggas is bitches”. And it’s true. There hasn’t been a rapper that has represented from The Hills like him. Of course, there have been artists that have mentioned it and dappled with being from both The Hills and north Tulsa. But there hasn’t been an artist who took The Hills and put it on their back like OTS J Huncho is. The track shows his unapologetic bars and a flow that shows that he can back up every line. It’s like going up against a top athlete and they’re up. And to add insult to injury they talk shit too. Checkout out the video and see what I’m talking about.
The second half of the album starts with the track “Return of The Apes (Interlude)”, it feels like that intro part to a TV show where they recap the whole season in under a minute, but in this case it’s OTS J Huncho’s life that he is recapping from a first-person perspective. The song is noticeably shorter at only 1 minute and 37 seconds. But within this short one verse track, OTS J Huncho says a lot, and the track shares some similarities with the previous track which is that OTS J Huncho reps The Hills hard. “Make sure them niggas respect The Hills like they respect the north.” The song is truly a snapshot that dives into different situations he’s went through to get to this point, from talking about someone snitching on his father, to low times when he slept on artist/producer SolRay’s couch, to now being the man in the town. This track you get your bang for your buck he spits all these bars before the beat even drops. While the sample is looping your kept anticipating the drop which makes you listen to what he had to say that much more. This was genius.
"Calvins Story Pt. 2" is one of my favorite tracks on the album. It showcases OTS J Huncho’s pen and storytelling ability. The track is a sequel and continues where Calvins Story Pt. 1 left off. Like forreal the track picks up perfectly, I found myself going back and listen to both tracks back-to-back and seeing how the storyline is so well written, almost like an episodic TV show. He paints such a vivid picture that makes you actually feel like you’re apart of the story. Like you can see the robbery. You can see the cop getting shot. You’re fully invested in the story. I’m personally hoping and looking forward to hearing part 3 to the Calvins Story saga.
Track 8 is "Scoring Moore The Maya". From its title it seems to be a basketball reference to famous WNBA player Maya Moore. This may also be why he puts so many bars referencing sports athletes in the track, he midest well be scoring more than Maya Moore. ”I heard that you got up in front of that court, and turned into Paul Pierce and was telling the truth.” BARRRSSS!!! He could’ve stopped the track after that. Also, something to note about this track is that it’s the first track where another featured artist appears. Sabree Carter, is a rapper who also appears on Guerrilla Warfare 1 on track “Boosie in 09”. She is in pocket and her rhythmic voice chop up the beat nicely. "Really stepped on some niggas in Vans, couple niggas that treat me like Stan, put on that shit call me Miss Dapper Dan."
“Everytime I kick this coke shit,
The first thing you notice about “Ricky Tan” is one, the title being from the villain in Rush Hour 2. The second thing you notice is the Ne-Yo “So Sick” sample. Which seems out of place for a hip-hop track. But that’s until the beat drops and you go. “Good one. I see what you did there”. Here’s just one of the lines that caught my attention “Brodie Bro got 2k’s he ain’t even got no console.” The third thing you notice on here is that Phil Sosa is featured on the track. The West and The Hills they go hand and hand so this collab makes sense. Phil Sosa spits some dope bars, but if you know his music then you know that already. “Ima blow this bitch until I hurt my shoulder blade, Glock on me, catch a nigga slippin like a rollerblade”. This track was great move for both artists. Both artists get introduced to each other’s fanbase and in the end everyone wins. Who knows. There may even be a video for this one too.
What a ride. We are finally down to the last track on the album, which is called “Crenshaw and Slausen Freestyle (Outro).” From the title alone, you can’t half step on Nipsey Hussle’s turf. Also, it’s the last track! Usually, the last track wraps up the theme to an album and can be seen as the end of the story. I feel like this track goes a different direction. In that it makes sure there are doubts left. OTS J Huncho can rap. Simple and plain. But the track is far from simple. The track starts with another familiar sample being Childish Gambino’s song "Redbone". But it’s OTS J Huncho’s complex bars makes so that he even tells you what he means so that it doesn’t go over your head. “Smoke exotic, That shit boxed, they ain’t boxin, They gonna box him, That mean drop him”. The song tells the world who OTS J Huncho is so that they can’t tell the story. It Was Written…
Guerrilla Warfare 2! It’s one of the best albums to come out of Tulsa this year. It’s the sequel that is just as strong as the 1st installment. I did want him to put "SharkLotto Freestyle" on here, but I can’t complain because there are so many great songs on this album. The album uses familiar samples to draw in the audience. But at the same time, I think the thing about an OTS J Huncho song is that you look forward to hearing him rapping more than you look forward to hearing the beat. Which is a trait that breakout artists and mainstream artists have. Guerrilla Warfare 2 gives the fans what they want. Bars, delivery, bravado, and of course one reppin for The Hills. So give Guerrilla Warfare 2 a listen and let us know what you think.
Make sure to follow OTS J Huncho on his social media:
YouTube: OTS J Huncho
Spotify: OTS J Huncho
"I Had A Rocafella Dream, Letting Niggas Know That I’m Here, Then I Woke Up Grateful, On a Sunday Morning, The Next Day Was Memorial Day, It Had Me Feeling Down, So I Recorded Local Nigga, I Felt Better Manifesting a Vibe, No Amount of Money Can Dictate What We Create, We’re Both Artists Baby."
These sentences are taken directly from the tracklist of Chris “The God MC” Cain’s new project called “Arrived: Now That I’m Here”. A 10-track album that is the follow up to his album “Arrived” that dropped in 2020. And if you have ever listened to a Chris “The God MC” Cain album that you that everything that he does when it comes to making music is intentional. Even when looking at the tracklist the titles from each song when put together, they read more like an ode, more poetry-like than individual titles. The songs tracklist is intentional and its details like these that will come out in the coming months. Whether it be in an interview or on social media, I expect that Chris “The God MC Cain” will share more of the details of the creative process that went into making the album and share hidden gems that the casual listener might not catch. Until then, we get to let our curiosity guide us on the journey that is called “Arrived: Now That I’m Here”.
“If don’t vote like me then we can politic.
The first track "Lettin Niggas Know That I’m Here” is just what it means. At 6 minutes in 38 seconds, it’s similar to when Lil Wayne dropped 10,000 bars. Well not quite that long. Though similar in the fact that there is no chorus. Just bars. It’s Chris “The God MC Cain” flexing his lyrical skills. It’s a reminder. Like let’s get this out the way. Every rapper needs that one track where they need to remind the game that they still can rap. And this track proves Chris “The God MC Cain” can rap. Rap. The piano keys create this lullaby-like heavenly atmosphere as Chris “The God MC” Cain tells vivid raps about his fairytale life. There’s heroes and villains. There's tales of danger, triumph, and adventure. His illustrative verses take you to his neighborhood and the places that meant most to him and everyone who grew up on the Eastside of Oklahoma City. Even with this song being so jam-packed, this is still only the beginning of the story.
Then I Woke Up Grateful Chris “The God MC” Cain is saying his grace. For all the things that didn’t go his way he still is grateful for the things that he has. And even though the Jay Electronica show got cancelled. He has continued to take his craft to newer heights. One thing to note is that this is the first track to feature an artist, a female artist named Cortney Lachelle’. She shows her versatility as she is able to deliver soulful vocals displaying a beautiful intonation and in the same verse able to switch up her style to straight bars and deliver them with a presence and bravado that matches Chris “The God MC” Cain’s. “I got some goals to reach, got some thangs to teach, I’m talkin breakin curses from the ones that come before me”.
On a Sunday Morning the church piano is the first thing you notice when pressing play on this track. Followed by the Serious K5ive tag. It takes you back to those Sundays and seeing the piano player play each note as if they were the lead singer in the choir. Hearing the preacher speak that sermon that you were too young to appreciate. This was Church Sundays. The ones your momma and grandma made you go to because you was in they house, and anyone livin in they house goes to church on Sundays. The song also tells of how when you are young you walk a thin line between good and evil. Or Saturday and Sunday. This is a record about the duality of life. "You gettin money that’s regular, I know some Christian rappers sound secular”. This is a clever bar. But this song has so many quotable bars. He took us to church with this one.
Before I save lives, I gotta change mine,
The first noticeable thing about track 6 It Had Me Feeling Down is the Brent Faiyaz Make It Out sped up sample that plays in the background. I remember Chris “The God MC” Cain posting the original song over Kobe highlights. It was beautiful. When listening to It Had Me Feeling Down it’s hard to ignore his tone and the way he raps. It sounds as If someone walking in their truth. And sometimes the truth is selfish. He expresses internalized feelings about making sure he is good with bars like: “Health is wealth gotta check the scale”. And in the same breath he shares the mic with the 2nd featured artist on the album Try On 10, as they both say in unison. “It ain’t hard to tell.” Troy On 10 brings some clever bars to the track, at times I would rewind and catch hidden bars tucked inside his short verse. For example, “They tryna hold us down like Omarion hook,” referencing the Bow Wow and Omarion song “Let Me Hold You”. The two seem like teammates passing the ball back and forth again and again running up the score and eventually running out the clock as Troy On 10 finishes the verse by professing "Tired of being down".
So I Recorded Local Nigga seems like the Part 2 to his song “Hip Hop Genre Vs. Hip Hop Culture” where he spits “Oklahoma Rapper, he a local rapper, but in NY Jay a local rapper, in LA Snoop a local rapper, y’all local fans for these local rappers.”. No truer words have been rapped. There are similar bars on So I Recorded Local Nigga for example, “Ain’t no local nigga fuccin with me, It’s a local nigga in every city, Every rapper got a hometown, Every rapper local in his hometown.”. The song dives deeper into this hypothesis as Chris “The God MC” Cain focuses his bars directly on mainstream artists. Which are actually a jury of his peers, his summation being, that because I’m so close to my Oklahoma fans they don’t see why I'm not at that mainstream level. But there’s so much more to it that goes on behind the scenes that really isn’t explained to the everyday casual fan. In-between the radio play and worldwide tours there's a lot of hands being greased and a lot of artists not owning nothing. Not even their own likeness/name. And that's not the Chris "The God MC Cain" way. "But Chris MCain got hella radio play!"
I Felt Better Manifesting a Vibe and just like the title states it’s a vibe. Nia Monė sultry voice starts the track off giving that R&B vibe back when rappers had singers sing their hooks, she also collaborated with Chris "The God MC Cain" on The Omega Before the Alpha. Another interesting fact is that Nia Monė, Young BUD, and Troy on 10 are the only 3 featured artists to make both Arrived albums. Not an easy feat especially on this album which only has 4 credited featured artists. It’s amazing to see that the person that Chris “The God MC” Cain has dedicated so many bars is now a becoming a frequent artist he collabs with. Young BUD is home. And the two friends celebrate on I Felt Better Manifesting a Vibe. Young BUD speaks with a sense of knowledge and growth in life and also an appreciation for Chris “The God MC” keeping his name alive while he was gone. "You helped me get my shit straight, Put me on them mixtapes, When I was in that cage you was screamin' my release date". It’s these moments that seem so surreal for Chris “The God MC” Cain. But they were really manifested.
We’re Both Artists Baby this is that ghetto love letter. Naw scratch that, this is that Black Love letter. But deeper than that. These are vows. Because Black Love was plotted against as soon as we arrived here in America. And if it was one artists that could describe what Black Love is, then money is on Chis "The God MC" Cain. He is expressive in his feelings for his wife that is masculine and most importantly is unwavering and fully committed'. Like in that scene on Sprung when Montel told Clyde, "I love hard. And when I love a woman she knows she's being loved." And Chris "The God MC" Cain goes hard for his wife as heard with lines like, "When I’m selfish you get all of my attention and vice versa tho.” and "You the queen of the universe, get the ring around Saturn... And I'll Kill for you, You and the babies. I'll kill for y'all" If that ain't loving hard then I don't know what is. This is Black Love.
Arrived: Now That I’m Here was an album and a full journey from one of hip-hops best. A true M.C. The album had these moments of nostalgia that made you feel apart of the journey. The album also played on his strengths. Intentional bars. Mastery of rhyming schemes, vocal timing, and presence. And last but certainly not least. It was hip-hop! This is the album we waited so long for. The result of it all was a timeless piece of art. Chris “The God MC” Cain had already Arrived. But it’s now the world gets to see how great he is Now That He’s Here!
Make sure to checkout Chris "The God MC" Cain his social media below:
Apple Music: Chris The God MC Cain
Spotify: Chris The God MC Cain
YouTube: Chris The God MC Cain
Facebook: Chris "The God MC" Cain
Everyone loves a remix. It’s like having a second opportunity to hear your favorite artist spit another verse. Who wouldn’t want to hear it? But even more a recent trend has been that the remixed single builds onto the original so that it sometimes becomes more of a series or an episodic collection of tracks that are well-known in an artists’s catalog. Kendrick Lamar’s The Heart series is one example of this, the latest being The Heart 5. Big K.R.I.T has his My Sub series, now on part 5 with his single Big K.R.I.T. "Ballad Of The Bass (My Sub V) . Even Jay-Z got did it with his Dead Presidents series and ththe list goes on. And for those familiar with Keeng Cut’s catalog know about the Screw Cool series, the latest release being Screw Cool 3 where he proves that you can evolve as an artist without sacrificing yourself. Let's take a look back at this dope series of tracks.
Keeng Cut is an artist from Tulsa. His unique style, flow, and stage performance brought a breath of fresh air to the Oklahoma hip-hop scene. Crowned the ‘Flavor Keeng’, his fashion sense matched with his extravagant raps have everyone biting the flavor. Whether rapping or singing Keeng Cut’s versatility has proved to be an asset, with his signature ad-lib “OOPS” it's clear that he is doing it his way.
Tryna put Glover in this broad,
It’s important to revisit the 1st Screw Cool track released in 2014. It was very player, very southern. The track has a soulful sample produced by fellow Tulsa artists and producer Rive Era. The record seemed to come at a transitional time in Keeng Cut’s career. Being formally known as Khampa Trillman, Keeng Cut was the next step in the evolution of the artist. On the track Keeng Cut had a 1st person perspective of how Tulsa is and once was. Reminiscing on how the old school players used to shine and bring out the fancy cars. On the track he also gives advice that the real players could feel. It’s the authority in his voice and the vivid raps that give you this feeling of authenticity. Keeng Cut has seen and lived it. Check out the video below:
It would be another 2 years before Keeng Cut would drop the surprised follow up track in the series “Screw Cool 2”. The 2nd track in the series featured a crooning Keeng Cut showing his versatility by way of rapping as well as by singing on the track. A notable difference on Screw Cool 2 is Keeng Cut rapping to a female companion and being someone she can console in. Undoubtedly still player. His gift of gab emerge in each bar making the track more like a conversation. When it comes to the production. The track seems a little more jazzier. Still very player but a lot smoother and intimate. A reach may be that this track was Keeng Cut experimenting with his new moniker Flavio Cutatore. Listen to Screw Cool 2 below:
I can turn an idea into dollars baby,
And last but not least, we get to the latest track in the series, Screw Cool 3. This track comes 6 years after Screw Cool 2. Again this track is representative of a pivotal point in his career and potentially in light of an upcoming album. Produced by fellow artist and Houston producer George Young. The beat fits right in line with the smooth player-like feel that the series is known for. You can hear the subtlety of the organ’s keys, similar to the subtle bars that are tucked in the track. It’s easy to get lost in the vibe of the track and miss some these quotable bars by Keeng Cut. The important thing about the series is that each time there’s something new that is brought to the table. One added element is YungxHalloween's crying guitar that at times echoes as it blends into the beat. Keeng Cut’s keeps true to the essence of the song as he starts out with his signature “Ohhh, Ohhh, Opps, Opps, Opps", The song is still very much a trip thru Tulsa. This time his ideas have progressed as he speaks about his growth as a person. Now promoting health both mentally and physically. His dreams now manifested. One of his dreams being Screw Cool on the radio, It was not only a memorable point in his career, but it showed that staying down with Tulsa was the right path.
I asked Keeng Cut about the last line in the song where he says “C Jim is the reason that I made Screw Cool.”. This is what he had to say:
"I basically used to call him Screw Cool Shawty in reference to DJ Screw being “cool” that’s where the term Screw Cool came from."
The Screw Cool series shines in Keeng Cut’s catalog. It’s important to Oklahoma hip-hop and each track is an archived moment in Keeng Cut’s career. Will there be more versions in the coming future? One can only hope. Until then like Keeng Cut says, “baby, I’m Screw Cool”.
Listen to Screw Cool 3 below:
Make sure to follow Keeng Cut on his social media:
YouTube: Keeng Cut TV
Spotify: Keeng Cut