There are few artists like ThunderWof. Naw, I take that back: there are truly no artists like ThunderWof. He's the very definition of multi-talented and unapologetically himself. He doesn’t get caught up in trends, and he doesn’t need a gimmick to market himself. Everything he does is inherently who he is. But that doesn't mean he's not a student of the game. Just one conversation with him and you’ll see, his musical knowledge runs deep and within his music you may hear shades of André 3000 or the unapologetic delivery of Kanye. ThunderWof. grew up on horses, and that’s one thing his last album “Boys Don't Cry But, Wofs Shed Tears”, taught us. Now he’s back, and this time he’s sharing his love for birds with the release of his latest project alongside dj nonmae., titled “The Birds and The Beats”.

ThunderWof. is a Tulsa rapper and comedian. You may remember him (a.k.a. “Ronnie RedRanger”) from our interview in the “5 On It” interview (check it out here). Since then, he has combined these talents to operate under a single name: ThunderWof. The artist behind the track that invited "Beef" has now teamed up with legendary Tulsa producer dj noname.. They share more than the period at the end of their names, they truly share the love for music. Over the past year, the duo has built a rapport and an almost tag-team-like bond that proves neither is afraid to share the spotlight. dj noname.’s track record of creating timeless musical compositions makes ThunderWof.’s uncanny bars and delivery feel like a welcome challenge for a producer with over 90 releases under his belt. Let’s see just how many birds you can spot in their new project, “The Birds and The Beats”. 

The Birds and The Beats is a 10-track project that is true to the essence of a collaboration tape in the sense that it’s just them, no features. One producer and one rapper locked in on creating a project, no better yet, creating art. An interesting fact about this project is that it was recorded at Church Studio. Anyone who’s ever stepped foot in there knows not only the history of some of the greatest musicians; icons like Woody Nelson, to Stevie Wonder, even Uncle Charlie Wilson and The Gap Band have recorded there. They also have witnessed the grandiose of it, it’s truly the big leagues when you think about recording studios. The huge recording rooms are equipped with music boards, microphones, mixers, and equalizers. They also include instruments like guitars, pianos, drums, and any other instrument you might need. The equipment alone is worth its weight in gold. The fact that this tape was recorded there and used some of the historical equipment like David Bowie’s microphone, I might add, means that this isn’t just an ordinary tape. As ThunderWof put it, “..this is Ornithology”.

The project’s opening track, "Show Off," is a straight jab of bars. From the very first line, ThunderWof. comes out swinging. He's clearly on the offensive, wasting no time knocking the beat into a carefree, laid-back vibe. It’s here that we get our first lesson in the subtlety of his pen: teaching us lessons while we’re bobbing our heads. “I'm something like a Southern Screamer,” he raps. Some might hear that bar and just think it sounds cool, but a little research reveals that a Southern Screamer is a bulky water bird native to South America; this is just one of 18 bird references sprinkled throughout the tape. What’s also on display in this first track are subtle shout-outs to local legends like dj noname., DJ $ir Mike, and Evan Hughes. I’ve always felt that to get a shout-out on a track is to live forever.

Another element I really enjoy about dj noname.'s production is that every track feels like a murder mystery: the rapper kills the beat, while dj noname. leaves easter egg clues that are just enough of the original sample that the listener can then use to track down where it came from. It makes you feel like you’re right there digging through the crates with him. "Show Off" samples “Turn Around You Fool” by The Ponderosa Twins Plus One; it’s the kind of flip that pays homage to the original soul record while making the listener want to also listen to the actual original track. To know a dj noname. track is to know a true love for music.

I have to admit, I wasn't ready for the next track on the album, "Freaky Feathers." The title alone should have given me a clue: the birds get dirty too, as ThunderWof. takes the concept of the "birds and the bees" to the next level. Speaking of levels, dj noname.'s production here reminds me of '90s Nintendo games when you reach the boss stage and that intense, high-stakes music kicks in. ThunderWof.'s repeated echoes of "Baby" ring in your ears like the minions you have to fight through while the boss watches from the shadows. The bars get seriously provocative, like when he drops, “Use my mouth as a baby carriage.” And he doesn't stop there; he seamlessly weaves the avian theme into the bedroom antics with lines like, “One leg up, ya just like flamingo,” and, “Baby, shake your feather like a cockatoo.” The song has playful, flirty undertones that set the stage for his experimental language (“choking,” “spitting”), leaving you wondering if ThunderWof. is operating on a whole different level of freaky. ​

I remember hearing “UPS Is Hiring” live and thinking the story he told about it’s origins alone was gold. ThunderWof. started off by recounting how his father would always tell him UPS was hiring, just in case rap or comedy didn’t work out. Fast forward to the present day, and ThunderWof. is giving that exact same advice to rappers who need to go grab a day job. The beat carries a slow, soothing vibe that sweeps you off your feet, with the help of dj noname., who samples René & Angela’s hit single "My First Love" (which you might also recognize from Avant and KeKe Wyatt’s iconic remake). ThunderWof.’s delivery is smooth as he slides across the track, lacing it with what can only be described as a full flock of bars. He poses a crucial question: “How many bird bars do you got?” And then answers it himself: “It’s more than a fowl amount.” 
​
This track is practically flocking with bird references. Sometimes they’re subtle, like the "fowl" line, while other times they hit you right in the face: “If the boy keep on quacking, we’ll have him ducked off like he’s O.J. Simpson,” or, “Behind every bar is a bird, like an aviary.”  (An aviary is a large cage for birds) Stop playing with ThunderWof.’s pen! The track has so many moments where the beat and the bars align perfectly; time after time, I found myself wanting to pull out a pen and quote a line. You really have to hear every bird bar for yourself. 

Not every track on an album can be a high point, and that’s where I land with “The Eulogy.” The beat carries an early ’90s Native Tongues vibe, reminiscent of A Tribe Called Quest or De La Soul. Where the song falls short, however, is in the vocal performance. It’s a track that demands a vocalist with a broader range to lay down richer melodic undertones. As it stands, it feels more like a reference track that could have found firmer footing with a stronger singer. 

That said, Michael Jackson oddly came to mind when listening to ThunderWof.’s serenading delivery—couple that with a direct nod to New Edition’s "Mr. Telephone Man," and it makes for an intriguing moment. ThunderWof. calls out to a lady named Antoinette, whom it sounds like he's lost touch with: “I'm crying to my flying friends.” But just when you think you have the track figured out, your ears perk up as the codeine haze sets in and a chopped & screwed version of ThunderWof. takes over: “August 10th, damn what a day , I woke up in love, fell asleep in heartbreak.” This is proof that birds really do fly south for the winter. Even deep within this slowed-down monologue, ThunderWof. continues to drop avian wordplay. One line that particularly stuck with me: “Every melody sounds like a memory.” Ultimately, even if “The Eulogy” experiences a turbulent takeoff, it lands beautifully through its use of imagery and culture. 

By the time we hit the halfway mark, you realize we’ve navigated a full spectrum of emotion, but more importantly, a relentless flock of bird bars. Track 5, “Backyard Concerts,” functions like an interlude, reading like a thank-you note to the birds themselves: “Thank God for the Blue Jays that erase my blue days.” In a sense, ThunderWof. needs the beats and the birds just as much as they need him. It’s a reminder that not every love letter needs to be an Odessey. At just 1 minute and 7 seconds, it’s the shortest song on the project, but it still delivers its point and lands beautifully: “They say the best concerts are usually free, My backyard, it sounds like a symphony.” 

The beat on “Birds on the Line” has a busyness to it that feels heavily influenced by Japanese mod bands. Combine that upbeat energy with ThunderWof.’s nonchalant delivery, and it makes for a surprisingly sonically pleasing track. The song really showcases his storytelling ability through songwriting as he takes us on an expressive flight: “I’ve got sparrows singing sad songs on my windowsill, reminding me life’s real.” It dives into deep topics like choosing a career over family, losing loved ones, and showing up for people both when they need you and when you need them most. The bars on this track hit with raw honesty. ThurnderWof. gets personal in a way I've never truly heard from him before. Powerful lines echo throughout the song, like, “You ever see your mother lose a universe?” and, “I pray my mother never gives me back to Mother Earth.” At times, the track plays like an exploration of survivor’s remorse as he reminisces on the losses and shifts in his life or, in his words, “Life’s a big migration.” On “Birds on the Line,” we get a deeper, far more vulnerable side of ThunderWof. 

“2 Minute Drill”, no, this isn’t the “7 Minute Drill” that was later deleted by J. Cole, but it carries all the tension that makes an artist wonder how the industry will react once it drops. The beat has a dark, "Shook Ones" feel that ThunderWof. jumps on, proceeding to rap in a way that taunts any challenger while declaring it's Turley/North Tulsa versus everybody, as if it were tatted on his chest. But not to be taken too seriously, he drops a hilarious line about being mistaken for country star Shaboozey. I love the different elements at play here, like the call-and-response conversation he has with himself addressing rumors and answering questions head-on. Then comes a dope transition into a "Turley" chant, backed by heavy-hitting bars and topped off with this unapologetic 4-bar declaration: “I’m a Northsider, 59er, early Turley resider, I won’t stop loving Turley till my heart retires.” It’s a beautifully executed song, especially given its ominous feel. It's also probably safe to say that ThunderWof. is the only rapper operating at the unique cross-section of sports bars and bird bars. ​

Next, we get into the track "Patriots Stand Up" The track opens with a heavy saxophone line that carries the weight of ThunderWof.’s revolutionary bars. What’s interesting about this song is the social commentary of the bars, more specifically how he uses symbolism by showing how the very birds celebrated as national and state emblems, like the bald eagle and Oklahoma’s own scissor-tailed flycatcher—can also symbolize corruption and sinister acts against the people they claim to represent. I also love how he calls out the mass incarceration of women in Oklahoma and the lack of resources for women; these are critical issues that rarely get the spotlight. Alongside that is the clever political commentary mocking the nation's two longest-feuding "gangs": the Demicrips and Rebloodicans. There’s so much weight in each bar. But as the track closes, a high-pitched voice brilliantly recites a modern adaptation of Gil Scott-Heron’s iconic poem "Whitey On the Moon," tweaking the refrains to target Elon Musk's space ambition: "Whitey on Mars." The saxophone shines in this final movement, driving home the sobering reality that history might just repeat itself on a whole new planet.    

You’ve probably heard the old saying: If you can't run with the big dogs, stay on the porch. Well, ThunderWof. flips that on its head with "No Big Dawgs," making it clear that big dogs can't run with the Wolves up North. The track is an unapologetic statement of dominance where he flexes his lifestyle over the competition: "The bank account looking like a rock show, It’s just band, after band, after band." I also loved the triple entendre on the line "I'm just keeping it a bill"—playing on money (a hundred-dollar bill), keeping it factual (keeping it 100), and a duck's bill. The track serves as a sobering comparison between his reality and his haters' illusion, where he's living his best life while they're living their best lie. Also accompanying the song is a music video that stands out as a compelling piece of art, serving as part of a larger mini movie that connects the project's tracklist while featuring appearances from Tulsa legend Playya 1000 and local figure Evan Hughes. Head over to watch the video and hear for yourself what makes this cut hit so heavy. 

​It’s been a wild ride, but we’ve reached the finale with "I’m An Uncle." There's something magical about the flute on this track; it's as if producer dj noname. tracked down André 3000 and told him to be as free as the bars on this track. With a generational shift of people opting out of parenthood due to high living costs, ThunderWof. enters a reflective headspace, contrasting his bachelor lifestyle with his friends who are stepping into fatherhood: "I raise a blunt, while he raise a child." Yet, despite enjoying the single life, he makes a point to express genuine pride in watching his homies' families grow. In the second verse, the focus shifts toward life lessons, like recalling his father’s passed-down wisdom that the ground will always catch you when you fall. But the true genius of the track lies in its abrupt final bar. ThunderWof. spits, "Thank God for the birds," follows it with "Thank God for the..." and suddenly cuts off, leaving only the beat to play out. It’s a brilliant, Sopranos-style fade-to-black moment, bringing an end to what was bird watching at its finest.

To say I liked The Birds and The Beats would be an understatement. It's a remarkably cohesive concept album that hits every mark of a great record, driven by amazing composition from dj noname. and top-tier lyrical skill from ThunderWolf. The project actually had me Googling birds. More importantly, the bars were witty, he didn't just simply name birds, he seamlessly intertwined avian themes directly into the lyrics and imagery. Fun fact: There are supposedly 18 different birds referenced across the project, and I challenge you to find them all. One eye opening for me is that I might have even discovered a newfound passion for birdwatching. After listening to this tape, I'll probably find myself staring at the powerlines wondering what kind of bird is sitting up there or identifying the one waking me up on Saturday mornings. Either way, spin The Birds and The Beats for yourself and let me know what you think! The tape is exclusively available on BandCamp here.

Also make sure you follow both dj noname. and ThunderWof. on Instagram:

dj noname. Instagram: @nosamyrag
ThunderWof. Instagram: @apache_thunderwof_18

Also watch all the videos for "Show Off.", "UPS is Hiring", "No Big Dawgs", and "2 Minute Drill" on ThunderWof.'s YouTube channel: @ThunderWof.

​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.
​

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.
​

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.
​

Outro time. I love an outro because it shows how much an artist cares about a project, and if you listen closely there are usually clues to what the artist has up next. Favored n Flavored doesn’t disappoint. I love how he comes right out the gate rapping with this crazy 4-bar rhyme scheme that punctuates the moment in the album. It’s a song of thankfulness for his life and most importantly thanking God. What is most eye-opening is his near-death experience, which would’ve turned most cold. But Keeng Cut chooses to be Flavored! ​

There you have it Ballin' With Flavor, a tape that is no doubt another championship trophy for the dynamic duo that is Keeng Cut and dj noname.. I think this album is just the appetizer to a bigger project, but like gumbo, you gotta let them cook. Or to keep with the basketball reference these two are still setting up the play. One thing is for sure, Ballin' with Flavor is one of the best albums to drop this year. Make sure you go stream it and purchase your limited-edition vinyl!

Buy the Vinyl: Ballin' With Flavor Vinyl
Stream the ​Album: Ballin' With Flavor

Make sure to follow Keeng Cut and dj noname. on social media:

Instagram: @keengcut
Instagram: @nosamyrag
YouTube: Keeng Cut TV

The best things about being an uncle is that you don’t have to perfect, You don’t have to have to be compared to this standard that parents do. In short, you can always tell it how it is. UNCLE JAY is an artist that specializes in doing just this, and this time he's bringing dj noname, in for their project called UNCLE NONAME.

UNCLE NONAME is a six-track project that dropped on 4/20, a day usually reserved for smokers, but surprisingly this wasn't the theme of this project. What was? We'll get to that later, but for now, let's talk about Track 1. Noname never disappoints on production as the first track “A STEP AHEAD” starts with the dj noname.’s signature use of a soulful sample of Black Ivory's single "It's Time To Say Goodby" sample, the producer has become a historian with his ability to pick timeless tracks, this time around it sets the stage for UNCLE JAY. "Visions through a prism, gifted with the difference to make, when distance was an issue, I had that Lemon Lemonade." UNCLE JAY has crazy wordplay and goes through a broad array of topics such as nautical skills, A.I,, education, and that's just the first 45 seconds. It's clear that UNCLE JAY can spit.

​Then we get to Track 2, You & I. Again, dj noname. found a timeless sample, and again it's from Black Ivory’s single “You And I”. The looping chorus sets the stage for Uncle Jay to rap a few bars and then let the chorus play as if it were a 60s r&b group where the lead singer moves back and forth from the mic while the background singers repeat the chorus. I would say that this is the love track of the album that is wrapped in not only emotions but also some slick bars that I found myself going back and rewinding them just because of the imagery, such as this one, “I inverted kiss from a mouth of fire, reversal foot than it turned to mine. “, even the cleverness of this bar that was in turn from this crazy set up from 2 bars previous, "should write my wrongs, on the wrong page". 

LISTEN is one of my favorite tracks. What I like about it most, is that it's like this lyrical gymnastics as UNCLE JAY’s bars show his skills like a triathlon athlete, he excels in wordplay, metaphors, rhyme scheme, UNCLE JAY attacks each bar like he’s going for gold. There also, so many quotables in just the first verse. "I got the slice like kutanas." BARS!! They like to think they Iron Man, until they lack J.A.V.I.S.”  BARS!!! He really did pop his shit on this track. While also tying in a life lesson; to be confident in your gift, because no matter how much you might run from it, it's still going to find a way to shine. Lastly, it's with the third track that you also realize that dj noname. is using another Black Ivory sample, this time it was "No If's AND's OR But's". It's a dope track to bring into the 21st century and proves that this group was slept on.​​

The fourth track on this project is called DONT RUSH LOOKN 4 YA HALO. UNCLE JAY is a little more laid back on this one and shows his personality more, he also switches his flow by using a kind of mini-subconscious voice that's used by artists such as Kendrick Lamar or J. Cole, the voice brings a depth to the chorus. I think he should have brought it back on the second and third chorus, which sound more like an echo effect and is missing the first chorus's sound. What I do like about this track is that he is talkin his shit. He's an artist that is known for doing the work that other artists say you gotta do, and this is reflected from the very first bar, "This boat still needs rowed". followed up by, “The entrance of a wrestler, self-driven like TESLA." Just put the whole first verse behind glass because ain’t nobody touching it. Even in his second verse he continues to show his clever wordplay through use of alliteration in the bars that use of the word 'seen'. Y'all really got UNCLE JAY fucked up.

SEARCH & YOU’LL FIND you gotta shout out dj noname, his beat selection once again is impeccable. It’s just something about hearing horns on a track that lets you know that it’s about to be a dope, as he found another sample from Black Ivory and their song “I’ll Find A Way". The track sets the stage for luxury bars, “Be serious and willin, it feel like walkin with God, cause the mirrors in the storefronts won’t tell you, you fraud". This is the shortest track on the album, but it's also jam packed with bars and technical skill. I also like the way he flipped the words "pair" and " sight" in these two bars. “We weren’t concerned with parasites or snakes in the creeks, but this pair of sights, had a lot more to see." Again, y'all really got UNCLE JAY fucked up.

I always judge an album by its outro, and like an uncle, you’re judged by the last advice you give. BISON IN BLIZZARD is the final track on the album, and dj noname. dials up Black Ivory’s "Baby, Won't You Change Your Mind" its that outro beat forreal. Again, UNCLE JAY knows how to deliver as he uses the beat like soapbox to give his final advice of the album. He's literally spittin life experiences in these bars and giving game like an uncle would, Lastly and probably the most important is the love, the love he shows at the end of the track, cause that's what family does.

​UNCLE NONAME is a project that although it’s short, it’s straight to the point, it doesn’t waste your time, and it doesn’t give you any filler. UNCLE JAY just tells it how it truly is, just like an uncle is supposed to. I also have to give credit to dj noname.’s use of Black Ivory tracks, again this group was really slept on. dj noname. is a musical archeologist who can dig through thousands of tracks and find the one that can create magic. As far as the content of the album, UNCLE JAY talks to the audience like an uncle would to talk to his nephews and nieces. Sometimes that means you and your uncle in the backyard smokin’ a blunt while he gives you the game, it's an open-diaglogue and a reflection from life experiences. Because that's what uncles do.

So, listen up, and go stream the album UNCLE NONAME:

Go follow both UNCLE JAY and dj noname. on Instagram:

UNCLE JAY's Instagram: unclejaymakesmusic
dj noname.'s Instagram: nosamyrag 

When you get an invitation from dj noname. you know that something dope is going to happen. This night proved that statement correct as the first installment of "The Listening Session.". Mr. Worthammmmm.... The artist known as Mr. Wortham is a lyricist and veteran of the game, his style is chill and laid back but packs a lyrical punch. He's also a supporter of the Tulsa music scene. But this event is about him and his new album called "views from the 11th". The project that captured his view from the 11th floor hospital window as he was going through one of the hardest battles of his life. This 12-track 25 mins and 11 seconds album is an insight to that battle. This is the listening party for "views from the 11th".

This night only a few select individuals were in attendance, this made this made the listening session very personal and more intimate. dj noname. and Mr. Wortham sat at the front of the stage behind a table filled with speakers and a laptop. To be amongst friends, that's what Mr. Wortham seemed to enjoy, while also letting them in on private battle he's been fighting that would eventually become an album. The album was structured in this skit then song sequence, it was like Mr. Wortham was sitting next to you explaining each track. The fist track called "peritoneal dialysis" grabbed your attention, it's this emotional journey that took us through his declining health, it was like we were right there in the hospital with him. There were so many medical terms that it felt like we were and the way he delivered them was as if we were there hearing these words for the first time with him. Also, note that this is the longest track on the album and has a very heavy tone to it. The track was produced by Dr. View.

Track 1 was very heavy and very serious but track 2 is the total opposite. "bloodwork" though still a heavy subject matter was surprisingly upbeat. Mr. Wortham experimented a little with different character voices especially at the end when it sounds like a 70s disc jockey. When listening to the track I was surprised because I thought every subject matter had already been put into a song. Wrong! I've never heard anyone create a whole song around getting blood work done. And I definitely wouldn't expect it to be upbeat. But Mr. Wortham executes the song so well. It's this upbeat dance track. I could imagine Phlebotomists would put on while working a shift. The hook is catchy as hell. Who knew you could dance while getting blood work. This one was produced by dj noname.

We get a peek into the creative process in the next skit "behind the scenes (let it go)" The skit is a voice note recording of an unreleased unrecorded song. During the listening session Mr. Wortham told the story of having the beat play through an old TV via a Chromecast and if you listen carefully, you can hear the volume being turned up. Though it's not the whole song it's a really strong chorus and up-tempo beat from Seriously K5ive. It's still in a reference track but it's interesting to hear him building on his idea for the song and the direction he plans to take it.

As he played the next track "me and my girlfriend" I couldn't help but think I know this title. The title has been flipped many times, 2Pac then Jay-Z, and now Mr. Wortham's version. During the session Mr. Wortham told of how him and his wife Jerica have been married for over 17 years now and how she was there right by his side in some of his darkest times. The track sounds like an ode to his wife. Again, he spoke of these uncommon medical terms and procedures. In the track he talked about how he had transitioned from the hospital to his home, but as the song tells, that didn't make it easier, or that the journey was over. There were hours of training and lots of patience, and some really personal and vulnerable moments. The song is the definition of "in sickness and in health". in the Q&A Mr. Wortham said that this was one of his favorite verses on the album and even rapped a bar, "the fork to my knife, the potato to her steak, be making meals together, and forever scrape the plate". The beat was again provided by dj no name. who flipped a Frankie Beverely joint for Mr. Wortham to spit on.

DJ $ir Mike provided the beat for track 9 titled "pill poppa". He explained the song by stressing that he wasn't speaking things into existence, but this was helping to paint the picture of the large list of medications that he literally carries in a Jansport backpack because it's just that many, and also the feeling of having to pop pills all the time. In the track he's naming off pill names like Jay-Z naming off women in his song "Girls, Girls, Girls". In his bars he spits, "I’m tired of you. I’m tryna go natural.“, this is just a heavy literal bar. I also noticed in his delivery and cadence in the track he makes it seem like he's on drugs with this cloudy state of mind sound as if he's in this medicated state. It was just a well-executed song.

The next track is a skit called "behind the scenes (do what it do)", hearing the sounds of the dialysis machine brought you right into the room, I imagine he did what he could in that moment to get through, and at that moment it meant he needed to sing, “It’s a long road, down this unbeaten path. And we don't even know, how it truly does end.“ These reference tracks probably not only helped make the time go bye, but it also probably helped to get some of those feelings out creating therapeutic sessions.

The last track on the album. Can you believe we made it this far? Can you believe all Mr. Wortham has been through? The last track is called "we made it" and is about triumph. Ending the album on a high note, producer Seriously K5ive provided those amazing horns and beat. The track was recorded in the den of his house with long-time friend Kiera Boykins, who himself had battled cancer and came out triumphant. This was that extra inspiration that Mr. Wortham needed. “we made it” also signifying that he had finally got a new kidney. He spoke about that Ascencion phone call that would get him closer to his triumph. The journey is the triumph. The family and friends who helped him along the way was the triumph. And triumphantly he rapped with a swagger as to say, "NIGGA WE MAD IT!".

The Listening Session. You had to be there. There were good people. There was a Q&A. There were 3 bottles of wine, keyword being "were" because by the time the listening session was over, all three bottles were empty. Mostly it was a triumph. Mr. Wortham had gotten through a journey that tested him and his relationships and came out triumphant. So, congratulations to Mr. Wortham on health and an amazon album. Let me be the first to repeat, WE MAKE IT! Make sure you checkout his new album "views from the 11th".

Checkout the listening session below:

Also follow Mr. Wortham on social media:

Instagram: misterwortham
Spotify: Mr. Wortham
YouTube: Mr. Wortham

Also stream the album "views from the 11th":

If know you know. And many people know about the producer/ artist/ manager/ photographer/ project manager/ yelper/ last but not least dj, they call dj noname. He's released so much classic music. But did you also know he writes? Here's something special from the one they call dj noname. talking about his newest single "A Love So Complicated".

The main point of my production stems from how I grew up, especially late-night freestyle takeovers. It was all about the raps, I didn't care about subject matter to an extent, what did the production make you come up with initially? That's what I wanted to be laid on my production. 

As my first year chopping samples ended up turning into (almost) 5 years, the more songs + projects I released, the more artists (even ones who didn't take music seriously) would approach me with getting on a track. I wouldn't even second guess the individuals, it was more of an experiment that I'd like to test out. "A Love So Complicated" is one of those things stemming from that notion. A person who is in this art world, who isn't even a musician, always threw the bug in my ear about sending some stuff over & he was super serious because we've had a few conversations about it.

This conversation continued for about a year; the beat is maybe that old as well. Along with that, I might've sent another beat or two. I have a good problem with always doing albums instead of singles + loosies (whether 3 or 10 songs... I treat everything like an album) & I felt like this song was so good that I couldn't even include it in a project I had in mind for it, The Album Before The Album. 

The sample stems from something I've heard before at a different tempo. This was during peak blog era & very close to a decade before I dove into DJing + producing. All of these songs I grew up on + heard sampled are now coming to life to where I'm utilizing them. Without that, there wouldn't be this.

I had to ask dj noname. why is there no artists credited on the single. "Simply because he's not a musician. We wanted to have fun with it [the record]. We made it about the music."

Shoutout to dj noname for the dope insight about his new single "A Love So Complicated".

Can you guess what sample he was inspired by?

Make sure you go purchase this new single "A Love So Complicated". here: 
​djno.name/a-love-so-complicated​

The first day of 2024! We watched the ball drop, we sipped champagne. We did all the etceteras. But what we didn't know is that there would be a tape. A tape from the legend that they call Pade and his producer dj noname.. I don't gotta say too much because the tape speaks for itself. 

So let's just listen to the tape!

You can Purchase the tape from  BandCamp here: Stoic: Day One