Few songs drop that become instant classics. Is there a specific formula? A specific type of artist? The truth is, no one knows. But you know it when you hear it. Very few artists achieve consensus that a track is a hit, and everyone agrees. That elusive "Summer Jam." Recently there's been this narrative floating around that the internet killed the "Summer Jam" because audiences consume so much content that agreeing on a single anthem has become impossible. However, J. Friday, LAW Rose, and Steph Simon just proved that theory wrong with the release of their new single, "Perfect Time." LAW Rose sets the tone immediately with a soulful vocal performance that pulls you straight into the record. He might also deliver one of the track's most easily misquoted lines: while some listeners hear "turn off the lights on Pine" or "turn right on Pine," the actual lyric is, "Turn at the lights on Pine", which is also a slick interpolation of Common’s classic "The Light." Rose’s vocals take you back to Sunday morning church services where people didn't just sing the lyrics, they saaaang them. His vocal runs and pitch demonstrate his talent as a performer, which carries directly into the music video as shots of the city skyline flash by like childhood memories. That soulful delivery gives the record a warm, family-reunion cookout feel, evoking the vibe of a Sunday cruise, with Rose delivering his performance while riding a three-wheeled motorcycle. "Stopped at Zen Zel’s, like the clerk, my truck mean"
J. Friday has repped the Town proudly for years, even rocking cowboy aesthetic long before Pharrell made it high fashion at Paris Fashion Week. The 918 star boasts an extensive catalog alongside several Oklahoma greats, many of whom he's outlasted in his career. Friday’s country roots are on full display in the music video: decked out in a cowboy hat and boots, he rides a horse straight down the streets of Tulsa. His verse sets the tone with a country swag that would make any country boyz on the rise, proud. Recently, the emergence of country line dance tracks has ignited a new spark in Friday, who has since dropped records like "Country Boy Walk" and "Im From Oklahoma," proving he has plenty of steps of his own. His coming-of-age lyrics depict an era of no cell phones, late-night lock-ins, and raw Tulsa street life. He caps his verse with some deeply vulnerable bars, "Northside baby, crazy, wasn’t supposed to make it, 2 strokes, I bounced back, I had to shake it", which tags LAW Rose back in for a soulful, heartfelt bridge. Friday proves once again that he understands exactly what turns a good song into a great one.
“Like Flavor Flav, them hoes gonna clock it.”
The final amigo on this track is Steph Simon. You might remember his previous collaboration with J. Friday on "Upside", their spin on The Gap Band's hit single "Oops Upside Your Head." Simerly this go around, Simon leans into his Tulsa roots with his signature style, using his verse to describe how that 918 upbringing helped take him to MoTown and then to Harvard. His delivery is nostalgic and shines a light on things true Tulsans know, like having that natural intuition of knowing when to leave before trouble starts, while sprinkling references to IYKYK fashion brands and businesses throughout. When it comes to articulating Tulsa pride on a track, few rappers are as skilled as Simon. There's a standout moment in the music video during his verse where the camera zooms out to his protégé, Royce1k, who finishes Simon's line: "Me and Friday ghetto legends like Fat Pat and Hawk." There’s no better measure of an artist's impact than how many people they inspire, and Simon has done that continuously, especially through his leadership role with World Culture Music and TMC Records, which he nods to by comparing himself to Mr. Clark from Eastside High. Simon's sharpest skill remains his ability to weave clever bars into a seamless flow that you might miss on first listen, like "Let's change the willl, I'll buy a vowel", proving once again why his arrival is always right on time.
What makes "Perfect Time" work so well is that it feels like an undeniable hit. It's the kind of record barbershops can bump on rotation, radios can put on repeat, and families can play dominoes to at the summer cookout. The fact that it doesn't feel manufactured or forced gives it room to soar above tracks that rely strictly on a catchy beat or a star feature, this track is genuine energy that carries right over into the music video. The visual captures the spirit of the iconic cookout scene in Poetic Justice before the chaos started: fun, organic, and completely effortless. For J. Friday, LAW Rose, and Steph Simon, the timing couldn't be better. Checkout "Perfect Time" for yourself and let us know what you think.
Follow the three artists below:
J. Friday Instagram: @jfridaymusic LAW Rose Instagram: @lawrence_rosenborough_ Steph Simon Instagram: @stephxsimon
0 Comments
There are few artists like ThunderWof. Naw, I take that back: there are truly no artists like ThunderWof. He's the very definition of multi-talented and unapologetically himself. He doesn’t get caught up in trends, and he doesn’t need a gimmick to market himself. Everything he does is inherently who he is. But that doesn't mean he's not a student of the game. Just one conversation with him and you’ll see, his musical knowledge runs deep and within his music you may hear shades of André 3000 or the unapologetic delivery of Kanye. ThunderWof. grew up on horses, and that’s one thing his last album “Boys Don't Cry But, Wofs Shed Tears”, taught us. Now he’s back, and this time he’s sharing his love for birds with the release of his latest project alongside dj nonmae., titled “The Birds and The Beats”. ThunderWof. is a Tulsa rapper and comedian. You may remember him (a.k.a. “Ronnie RedRanger”) from our interview in the “5 On It” interview (check it out here). Since then, he has combined these talents to operate under a single name: ThunderWof. The artist behind the track that invited "Beef" has now teamed up with legendary Tulsa producer dj noname.. They share more than the period at the end of their names, they truly share the love for music. Over the past year, the duo has built a rapport and an almost tag-team-like bond that proves neither is afraid to share the spotlight. dj noname.’s track record of creating timeless musical compositions makes ThunderWof.’s uncanny bars and delivery feel like a welcome challenge for a producer with over 90 releases under his belt. Let’s see just how many birds you can spot in their new project, “The Birds and The Beats”. The Birds and The Beats is a 10-track project that is true to the essence of a collaboration tape in the sense that it’s just them, no features. One producer and one rapper locked in on creating a project, no better yet, creating art. An interesting fact about this project is that it was recorded at Church Studio. Anyone who’s ever stepped foot in there knows not only the history of some of the greatest musicians; icons like Woody Nelson, to Stevie Wonder, even Uncle Charlie Wilson and The Gap Band have recorded there. They also have witnessed the grandiose of it, it’s truly the big leagues when you think about recording studios. The huge recording rooms are equipped with music boards, microphones, mixers, and equalizers. They also include instruments like guitars, pianos, drums, and any other instrument you might need. The equipment alone is worth its weight in gold. The fact that this tape was recorded there and used some of the historical equipment like David Bowie’s microphone, I might add, means that this isn’t just an ordinary tape. As ThunderWof put it, “..this is Ornithology”. "Momma I think I made it,
The project’s opening track, "Show Off," is a straight jab of bars. From the very first line, ThunderWof. comes out swinging. He's clearly on the offensive, wasting no time knocking the beat into a carefree, laid-back vibe. It’s here that we get our first lesson in the subtlety of his pen: teaching us lessons while we’re bobbing our heads. “I'm something like a Southern Screamer,” he raps. Some might hear that bar and just think it sounds cool, but a little research reveals that a Southern Screamer is a bulky water bird native to South America; this is just one of 18 bird references sprinkled throughout the tape. What’s also on display in this first track are subtle shout-outs to local legends like dj noname., DJ $ir Mike, and Evan Hughes. I’ve always felt that to get a shout-out on a track is to live forever.
Another element I really enjoy about dj noname.'s production is that every track feels like a murder mystery: the rapper kills the beat, while dj noname. leaves easter egg clues that are just enough of the original sample that the listener can then use to track down where it came from. It makes you feel like you’re right there digging through the crates with him. "Show Off" samples “Turn Around You Fool” by The Ponderosa Twins Plus One; it’s the kind of flip that pays homage to the original soul record while making the listener want to also listen to the actual original track. To know a dj noname. track is to know a true love for music. I have to admit, I wasn't ready for the next track on the album, "Freaky Feathers." The title alone should have given me a clue: the birds get dirty too, as ThunderWof. takes the concept of the "birds and the bees" to the next level. Speaking of levels, dj noname.'s production here reminds me of '90s Nintendo games when you reach the boss stage and that intense, high-stakes music kicks in. ThunderWof.'s repeated echoes of "Baby" ring in your ears like the minions you have to fight through while the boss watches from the shadows. The bars get seriously provocative, like when he drops, “Use my mouth as a baby carriage.” And he doesn't stop there; he seamlessly weaves the avian theme into the bedroom antics with lines like, “One leg up, ya just like flamingo,” and, “Baby, shake your feather like a cockatoo.” The song has playful, flirty undertones that set the stage for his experimental language (“choking,” “spitting”), leaving you wondering if ThunderWof. is operating on a whole different level of freaky. "I'm giving you birds over the beats this is orathology.”
I remember hearing “UPS Is Hiring” live and thinking the story he told about it’s origins alone was gold. ThunderWof. started off by recounting how his father would always tell him UPS was hiring, just in case rap or comedy didn’t work out. Fast forward to the present day, and ThunderWof. is giving that exact same advice to rappers who need to go grab a day job. The beat carries a slow, soothing vibe that sweeps you off your feet, with the help of dj noname., who samples René & Angela’s hit single "My First Love" (which you might also recognize from Avant and KeKe Wyatt’s iconic remake). ThunderWof.’s delivery is smooth as he slides across the track, lacing it with what can only be described as a full flock of bars. He poses a crucial question: “How many bird bars do you got?” And then answers it himself: “It’s more than a fowl amount.”
This track is practically flocking with bird references. Sometimes they’re subtle, like the "fowl" line, while other times they hit you right in the face: “If the boy keep on quacking, we’ll have him ducked off like he’s O.J. Simpson,” or, “Behind every bar is a bird, like an aviary.” (An aviary is a large cage for birds) Stop playing with ThunderWof.’s pen! The track has so many moments where the beat and the bars align perfectly; time after time, I found myself wanting to pull out a pen and quote a line. You really have to hear every bird bar for yourself. Not every track on an album can be a high point, and that’s where I land with “The Eulogy.” The beat carries an early ’90s Native Tongues vibe, reminiscent of A Tribe Called Quest or De La Soul. Where the song falls short, however, is in the vocal performance. It’s a track that demands a vocalist with a broader range to lay down richer melodic undertones. As it stands, it feels more like a reference track that could have found firmer footing with a stronger singer. That said, Michael Jackson oddly came to mind when listening to ThunderWof.’s serenading delivery—couple that with a direct nod to New Edition’s "Mr. Telephone Man," and it makes for an intriguing moment. ThunderWof. calls out to a lady named Antoinette, whom it sounds like he's lost touch with: “I'm crying to my flying friends.” But just when you think you have the track figured out, your ears perk up as the codeine haze sets in and a chopped & screwed version of ThunderWof. takes over: “August 10th, damn what a day , I woke up in love, fell asleep in heartbreak.” This is proof that birds really do fly south for the winter. Even deep within this slowed-down monologue, ThunderWof. continues to drop avian wordplay. One line that particularly stuck with me: “Every melody sounds like a memory.” Ultimately, even if “The Eulogy” experiences a turbulent takeoff, it lands beautifully through its use of imagery and culture. By the time we hit the halfway mark, you realize we’ve navigated a full spectrum of emotion, but more importantly, a relentless flock of bird bars. Track 5, “Backyard Concerts,” functions like an interlude, reading like a thank-you note to the birds themselves: “Thank God for the Blue Jays that erase my blue days.” In a sense, ThunderWof. needs the beats and the birds just as much as they need him. It’s a reminder that not every love letter needs to be an Odessey. At just 1 minute and 7 seconds, it’s the shortest song on the project, but it still delivers its point and lands beautifully: “They say the best concerts are usually free, My backyard, it sounds like a symphony.” The beat on “Birds on the Line” has a busyness to it that feels heavily influenced by Japanese mod bands. Combine that upbeat energy with ThunderWof.’s nonchalant delivery, and it makes for a surprisingly sonically pleasing track. The song really showcases his storytelling ability through songwriting as he takes us on an expressive flight: “I’ve got sparrows singing sad songs on my windowsill, reminding me life’s real.” It dives into deep topics like choosing a career over family, losing loved ones, and showing up for people both when they need you and when you need them most. The bars on this track hit with raw honesty. ThurnderWof. gets personal in a way I've never truly heard from him before. Powerful lines echo throughout the song, like, “You ever see your mother lose a universe?” and, “I pray my mother never gives me back to Mother Earth.” At times, the track plays like an exploration of survivor’s remorse as he reminisces on the losses and shifts in his life or, in his words, “Life’s a big migration.” On “Birds on the Line,” we get a deeper, far more vulnerable side of ThunderWof. “2 Minute Drill”, no, this isn’t the “7 Minute Drill” that was later deleted by J. Cole, but it carries all the tension that makes an artist wonder how the industry will react once it drops. The beat has a dark, "Shook Ones" feel that ThunderWof. jumps on, proceeding to rap in a way that taunts any challenger while declaring it's Turley/North Tulsa versus everybody, as if it were tatted on his chest. But not to be taken too seriously, he drops a hilarious line about being mistaken for country star Shaboozey. I love the different elements at play here, like the call-and-response conversation he has with himself addressing rumors and answering questions head-on. Then comes a dope transition into a "Turley" chant, backed by heavy-hitting bars and topped off with this unapologetic 4-bar declaration: “I’m a Northsider, 59er, early Turley resider, I won’t stop loving Turley till my heart retires.” It’s a beautifully executed song, especially given its ominous feel. It's also probably safe to say that ThunderWof. is the only rapper operating at the unique cross-section of sports bars and bird bars. Next, we get into the track "Patriots Stand Up" The track opens with a heavy saxophone line that carries the weight of ThunderWof.’s revolutionary bars. What’s interesting about this song is the social commentary of the bars, more specifically how he uses symbolism by showing how the very birds celebrated as national and state emblems, like the bald eagle and Oklahoma’s own scissor-tailed flycatcher—can also symbolize corruption and sinister acts against the people they claim to represent. I also love how he calls out the mass incarceration of women in Oklahoma and the lack of resources for women; these are critical issues that rarely get the spotlight. Alongside that is the clever political commentary mocking the nation's two longest-feuding "gangs": the Demicrips and Rebloodicans. There’s so much weight in each bar. But as the track closes, a high-pitched voice brilliantly recites a modern adaptation of Gil Scott-Heron’s iconic poem "Whitey On the Moon," tweaking the refrains to target Elon Musk's space ambition: "Whitey on Mars." The saxophone shines in this final movement, driving home the sobering reality that history might just repeat itself on a whole new planet. You’ve probably heard the old saying: If you can't run with the big dogs, stay on the porch. Well, ThunderWof. flips that on its head with "No Big Dawgs," making it clear that big dogs can't run with the Wolves up North. The track is an unapologetic statement of dominance where he flexes his lifestyle over the competition: "The bank account looking like a rock show, It’s just band, after band, after band." I also loved the triple entendre on the line "I'm just keeping it a bill"—playing on money (a hundred-dollar bill), keeping it factual (keeping it 100), and a duck's bill. The track serves as a sobering comparison between his reality and his haters' illusion, where he's living his best life while they're living their best lie. Also accompanying the song is a music video that stands out as a compelling piece of art, serving as part of a larger mini movie that connects the project's tracklist while featuring appearances from Tulsa legend Playya 1000 and local figure Evan Hughes. Head over to watch the video and hear for yourself what makes this cut hit so heavy. It’s been a wild ride, but we’ve reached the finale with "I’m An Uncle." There's something magical about the flute on this track; it's as if producer dj noname. tracked down André 3000 and told him to be as free as the bars on this track. With a generational shift of people opting out of parenthood due to high living costs, ThunderWof. enters a reflective headspace, contrasting his bachelor lifestyle with his friends who are stepping into fatherhood: "I raise a blunt, while he raise a child." Yet, despite enjoying the single life, he makes a point to express genuine pride in watching his homies' families grow. In the second verse, the focus shifts toward life lessons, like recalling his father’s passed-down wisdom that the ground will always catch you when you fall. But the true genius of the track lies in its abrupt final bar. ThunderWof. spits, "Thank God for the birds," follows it with "Thank God for the..." and suddenly cuts off, leaving only the beat to play out. It’s a brilliant, Sopranos-style fade-to-black moment, bringing an end to what was bird watching at its finest. To say I liked The Birds and The Beats would be an understatement. It's a remarkably cohesive concept album that hits every mark of a great record, driven by amazing composition from dj noname. and top-tier lyrical skill from ThunderWolf. The project actually had me Googling birds. More importantly, the bars were witty, he didn't just simply name birds, he seamlessly intertwined avian themes directly into the lyrics and imagery. Fun fact: There are supposedly 18 different birds referenced across the project, and I challenge you to find them all. One eye opening for me is that I might have even discovered a newfound passion for birdwatching. After listening to this tape, I'll probably find myself staring at the powerlines wondering what kind of bird is sitting up there or identifying the one waking me up on Saturday mornings. Either way, spin The Birds and The Beats for yourself and let me know what you think! The tape is exclusively available on BandCamp here. Also make sure you follow both dj noname. and ThunderWof. on Instagram: dj noname. Instagram: @nosamyrag ThunderWof. Instagram: @apache_thunderwof_18 Also watch all the videos for "Show Off.", "UPS is Hiring", "No Big Dawgs", and "2 Minute Drill" on ThunderWof.'s YouTube channel: @ThunderWof.  You could feel the music. You could feel the soul echoing through the streets. That's how people might've described Black Wall Street before it’s commercialization. Before the highway that divided the community, before the luxury apartments and the fancy restaurants, Black Wall Street was a place where music brought people together. Steph Simon is bringing back that spirit with his live band rehearsals that not by coincidence was held on Greenwood, right in the heart of Black Wall Street. This day started like any other Monday. A cool walk with the I Grow Daily’s walking group. The group meets around 5:45 with the usual route around Black Wall Street and downtown Tulsa, though we did stop to see the new social club being constructed called "The Block" (which is set to be open later this year). But as we came to the end, we could hear drums echoing down the street. My pace increased as a familiar voice sang out, “Just another sunny day, on the Northside”. These words I’ve heard numerous times. "I made left on Pine, headed to Apache." Steph Simon and The Rowlands are a band from North Tulsa that encapsulate what it means to not give up on your town. To stay here when so many left, or as he put it, “took water and made Pade Tea”. If you know Steph Simon he’s always promoted the people and shared the profits by buying local merch and supporting local vendors and most importantly, continuing to do events on Black Wall Street. This particular rehearsal was them gearing up for their next show on June 2nd. To be front row of a band rehearsal felt raw, like being at a Tiny Desk performance or an MTV Unplugged show. But there was also the improvisation of it, one example of this was when the band started to play "Sunny on the NS", but on 2 times the speed, I promise Steph Simon didn't miss a single syllable. The band also didn't miss a single note. That's what the creative process is, it's realizing that it doesn't have to be all business, because the creativity is created in experiences. Another experience we were treated to was hearing Steph Simon's new song “Local Markets”, which the band performed, this let me know that the set list was still being flushed out, as they tried new arrangements and practiced subtle cues that let each member know that the next song, or next sound, or what volume to play at. There were restarts. There were instruments being tuned. But that's life! That's LIVE! That's Unfiltered! That's Black Wall Street! The people came. Drawn in by something you felt in your soul. Samples like, “It Never Rains in Sunny California”, or “Come & Talk to Me” took the crowd to a nostalgic place. But it was the switch to Simon’s original tracks that pulled everyone back to the present. As the crowd grew so did the band’s realization that this was more than a rehearsal, this was a popup show, so they did what any band would do. Give the people what they stopped for. A SHOW! You could see that having fun which came thru in the music. Simon on this day was surrounded by the ancestors because he was finding pockets and flows and even showing off a few dance moves. To hear Steph Simon live is to see a return on investment on any ticket price, any merch price, and album price, ten times over. He is gem to everything Tulsa. What happened that day was magical. I just hope you catch the next one and see what Steph Simon and the band bringing live music back to Black Wall Street. Make sure you follow Steph Simon on social media:
Instagram: @stephxsimon YouTube: Steph Simon Spotify: Steph Simon  It might almost be summer, but in Oklahoma there’s still a chance for snow. No one knows this better than the artist that goes by Snowy Freeman, who is changing the forecast when it comes to music coming from the state. His flow may be unpredictive, but it's his bars and cool persona, that has many looking forward to a full-length project. And even though there has been no official announcement, Snowy Freeman is feeding the streets with the release of his new single “How I Do It”. Snowy Freeman is an artist from Tulsa Oklahoma who brings with him the experience of putting out great music consistently. and has created his own lane. Creating his own lane isn't only seen in his music but was learned from his love of skateboarding and motorcycles. Snowy Freeman is running his own race and not jumping from trend to trend to reach his audience. The future is bright for the artist known as Snowy Freeman. The song How I Do It uses a familiar and soulful instrumental that leaves room for Snowy Freeman to spit introspective bars. To the listener the beat lines up with the feeling you would get from a more southern influenced blues song where the storytelling was the focal point of the song. This is what Snowy Freeman is able to do best, tell his story. He takes on the track with a confidence that is heard in his tone and echoed throughout the lyrics. "Formed a style, you can gamble all your pieces on". Lines like these showcase this confidence that you hear cleverly throughout the track; while backing ad-libs become almost a stamp of approval for every bar, these ad-libs give you that feeling from those early Jeezy tapes, who was himself is no stranger to snow. "Flow ugly, risky chunky, no clam chowder." A hidden gem in the track is when Snowy Freeman spits the last bar, "If you don't want me on your grass, Stinkmeaner clone", Stinkmeaner referring to the hilarious character on the show Boondocks, but also, the main characters last name is Freeman which makes the bar hit that much more. Then comes the technical aspect of music, Snowy Freeman's bars are artful in the sense that they aren't just strung together words for the sake of rhyming, but they're well thought out similes and metaphors that give a glimpse into his genius, each line makes you go back and listen for things you might not have caught in the first listen. One bar that made me run the track back, was in verse two where he spit this creatively unique bar that I've never heard any one use before, "Flow ugly, risky chunky, no clam chowder." That's a bar! That's also the thing about this song, I found myself able to reference bar after bar, and catch small clues in each listen, that's the tell of a true writer. That's why Snowy Freeman is winning. Checkout Snowy Freeman's new single "How I Do It" below and let us know what you think: Make sure you follow Snowy Freeman on social media:
Instagram: @itssnowman2u Facebook: Snowy Freeman YouTube: Snowy Freeman Spotify: Snowy Freeman 
As an artist I’ve always wondered what famous people did with the art they didn't release to the world. What if Michael Jackson had a better album than Thriller? What if Lauren Hill had a better album than The Miseducation? Jay-Z doesn't write, instead everything comes off the top of the dome. Believe me he has too many great verses to just pick one. But what if he had a better verse that he forgot? These questions do linger, but luckily Steph Simon has answered this question with the release of his new project called "Lost Gems".
Steph Simon is a hip-hop artist from Tulsa, Oklahoma that has continued to push the culture forward in ways that many would've considered crazy as an idea, he has always had the knack to make those ideas a reality. From throwing the biggest hip-hop festival in the Southwest called DreamLand Festival, to helping 50-plus artists be signed to the prestigious MoTown Records, to creating a hip-hop course curriculum that allows him to work with younger artist in high school and middle school. That's only scratching the surface of his community work. As an artist Steph Simon, has put out multiple projects that have defined the Tulsa sound and encapsulated its history. He's also appeared on numerous songs and has performed on almost every stage in Oklahoma. So, when an artist of this stature says that he has music that didn't make the anticipated album "All Roads Lead to DreamLand". I began to wonder what was he going to do with these unreleased tracks? That's where the album "The Lost Gems" was birthed. The Lost Gems is a 10-track project that clocks in at only 29 minutes listening time. There are 7 credited featured artists in the project's tracklist. An interesting note about the track list is that out of all the featured artists, there is only 1 Oklahoma artist on the album, and that's Dolo Loco. Furthermore, there are no World Culture Music members featured on this project, which is really unusual, sort of similar to Benny The Butcher dropping an album without one single Griselda member on it. Is it a crime? No. But is it unusual? Yes. But to give context that this is more of a compilation of songs and not a true album gives us a little hope that there may be another World Culture Music album one day. (side note: "What Would Jim Do?" is no longer on streaming) We also had the pleasure of going to the listening party for the project that was held at Silhouette Sneakers & Art, the same place that Steph shot the video for "Built Different". Let's sit with this a little. A listening party. What exactly is it, and what makes a successful listening party? The answers, in my opinion. First, not everybody is invited. It's not a place for socializing per say, it's a time to get the tastemakers in the room to have a truly transparent interaction with the art. The tastemakers include the bloggers, the newspapers, the podcasters, the publicists, the djs, the radio djs, the club djs, the radio program directors, A&Rs and other music executives. This isn't a time for you to have all the homies, every single rapper in the city, the social media influencer who posts funny videos, the streamer whose content is about gaming, the TikToker that does dances. The former is what will get your music played, and the latter might play you. The experience is also supposed to be interactive. It should be a two-way interaction where the artist plays the song, but also gives space for feedback, which will also be data for the artist to maybe tweak the album or use for future releases. The listening party is as much for you as much as it is for the tastemakers. They get to listen to music early enough in the hopes that they can craft content for your up-coming releases. They also get to see trends happening real-time. Lastly, this helps tastemakers continue to build trust with their audiences by showing why they are tastemakers and the fact that they get into exclusive rooms and have these VIP experiences that the regular person wouldn't and put their necks out for why the listener should spend their time and money with an artist. It's a mutually beneficial relationship. The Lost Gems Listening Party. Let's get into it. What made Steph Simon's The Lost Gems Listening Party so memorable is that he is great at storytelling and he's great at performing. Both of these strengths he leaned into by A, telling stories behind the tracks and how they were created, and B, by performing either a verse or a certain part of the song such as the hook acappella, this brung the words to life, and often was like relistening to the song through a different lens I noticed myself catching things I didn't in the first listen. Also this was my first listen to the album, I wanted to go in truely unbiased and be able to experience the album for the first time through a new purely objective perspective. Let's get to the album! The Album Cover Some might thing that album covers don't matter anymore, I can assure you that they mean more now than ever and Steph Simon has always been intentional with his. The photo for album cover for "The Lost Gems" is from the DreamLand fundraiser game from March 23, 2025 that was held at the Tulsa Driller's Stadium. This field is important not only to Simon, but to the community. A community that neighborhood kids would use to play games such as football or kickball in, the then empty field. But also, it is believed to be where the bodies of the Black Wall Street Massacre are buried. Now the field is built over by the minor league baseball team's stadium called, Tulsa Drillers Stadium. But on this day that same community reclaimed it for them as they competed in a kickball game with Steph Simon taking the mound as one of the teams' pitchers. 
The Interaction The interaction of the Listening Party started with of course the people, the free food, the free drinks. But also came with the music. dj noname. who set the vibe with a crazy setlist of curated music that only added to the anticipation of hearing the new album, dj noname. continues to be a name that is respected and one that is apart of the Tulsa sound from his musical family linage all the way to the music he is creating now. Another great interaction was the art installation of Simon's lyrics. This is the ultimate form of vulnerability and was basically like reading through his journal where there was the good, the great, and a few diss tracks that the world may never see. 
Let's not forget, the interaction with Merch, this was something I also appreciated. We're literally coming here to support you, the artist, so why not have merch there as a second way for people to support you. That might be exclusive merch or first looks on merch that won't drop until later. Steph Simon did this very well with an assortment of t-shirts, hats, buttons, and stickers. There's only one other artist that I've seen sell merch at their listening party with a more curated feel and that was PG Louie who had a custom candle called "Creed N' Candy" that felt a part of the marketing and vibe of the album. More artists should have merch at their listening parties. And as an independent artist, really you should always have merch on you. The last interaction that really set Steph Simon apart was the fact that he had a Google Form that asked listeners questions specific to each song on the album. such as; What's your overall thought for the specific track? What stood out most about the track?
I encourage you to fill it out the Form and let us know some of your answers:
The Lost Gems Listening Party Form The Music Please Now let's get to the music. The album started out with Keep Diggin which is motivational and a great starting point for the album. It's Steph Simon in reassurance of his position and the values he's practiced. The featured artist Dometrius, has a soulful voice that becomes sort of an internal conscious for Simon, encouraging him to continue moving like he's moving, because he's so close to hitting gold. I really like the song. The next song is of course "Built Different" (read our review here). Simon has put on a masterclass when it comes to promoting a single, and continues to push this song like it just came out. The social media impressions and user generated content from the single alone has shown the song's impact, all evidence of a well-executed on the marketing campaign, and also shows that it pays off to stick with a single you truly believe in. But I can't help but to think, it would be a total loss of momentum if this song wasn't also on the "All Roads Lead to DreamLand" anticipated album from Simon. Hopefully, Simon recognizes. It's the radio single, it's the one that gets the listener in the story and anticipating hearing a familiar sound, "Built Different". Also, the video is sooooo dope! Just watch! The 3rd track on the album is Fundamentals. The song is as good as the story behind it. Simon had been working on music with the famous West Coast producer Blaqthoven who's worked with every major West Coast hip-hop artist known such as Snoop Dogg and E-40, Kurrupt, even Talib Kweli. And uncle Charlie, yeah that's really his uncle, Charlie Wilson. So as Simon put it, he made a song with Blaqthoven that he wanted to get Das and Kurrupt on, but unfortunately this was the same time that the two were beefing, so it never happened. But God always has a funny way of laughing at your plan because he already had His plan in mind, that was put into motion when Simon did a show in OKC with Jabee and Mistah F.A.B, who is a bay era legend, the result, Fundamentals. What Steph Simon wrote down on paper as a goal had morphed into something that was better than he could've expected, also Simon told how he felt like he is the Mistah F.A.B. of Tulsa, so there were a lot of synergies in these two being on the record together. The song itself is a call back to getting back to the fundamentals of hip-hop, of which Simon has always been a student of. Simon raps about pushing back against the algorithm and getting back to making good music. Mistah F.A.B. is back to the fundamentals of bars and lyrics and regional sound. One of my favorite bars from the album is when Simon raps, "Probably catch me posted by that Mid-K, I think's that's why so many rappers out here dropping mid-tapes". It explains the fact that music back in the day had to be good, because in order to sell your music, people had to like it. Now all artists have to do is to come up with one catchy bar, or one hook, and you can get millions of streams from a TikTok. But chasing that one viral moment has come at the cost of good music and lots of horrible music. Or even worse, music that you only know that one viral part. You might as well create jingles if your goal is to go viral. Because to make real music that lasts, you need the Fundamentals! If you're familiar with Simon's music than you know that the Black dollar has always been a part of his messaging and this tape was no exception. Big Fish is a track that promotes the black dollar circulating amongst the community and showing that everyone can eat, even a Big Fish in what others may consider a small pond. The featured artist AJ Snow talks about taking risks for a bigger profit as well as investing. Steph Simon's has always been a quarterback of the DIY movement, so when he mentions Jeff Blake, it was the perfect comparison, Blake was a an Black quarterback who played for the Cincinnati Bengals, and has the record 92-yard touchdown pass in a Pro Bowl game, while Simon has been throwing hail mary passes his whole career, and scoring more often than not. The last feature on the track is Jayson Cash another California artist who had a great line about realizing that his first time he flew out of LA was actually a connecting flight in OKC, the world is truly that small, especially to a Big Fish. If you're from Tulsa, then you immediately recognize the early 2000s Tulsa sound that comes from the track T.A.N. the acronym stands for "Tulsa Ass Nigga". The song pays homage to that Tulsa era where artists had a certain draw in the way the said things, the shops that people used to shop at, such as Big T's, and the accessories that was work, such as hoop earrings or basket earrings, Jordans, and the iconic Herringbone chain. Also, the rodeo culture that people didn't run from, they ran to, many putting the rodeo culture in their music as well. Simon also chose not to have the track mixed and mastered as to stay true to that Tulsa sound, he noted the nasally Tulsa flow that he even incorporated into his verse. Not to mention the featured artist that is so Tulsa, Dolo Loco. He lets you know all that comes with being a T.A.N. "On Me". Nothing New is a track produced by long time Tulsa producer Papa. During the listening party Simon mentioned that he draws comparisons to LaRussell, but also he says he's like E-40 because at the point that he entered the rap game it was going through a pivotal shift, social media had yet to be created, so for him, his timeline gets lost with many people approaching him as a new independent artist without knowing that he's been grinding for years. He also mentions this as one of his favorite songs on the album which I can see why. It's real talk and real flexing, or as he says, "I ain't on these murals for no reason". You might remember Lil Wayne and Drake had a song called BB King, Simon's bodies the beat just as much with storytelling and metaphors that punch through each bar. "Line it up like a Keezy Kut". Simon continues to immortalize his homies in his bars and takes listeners on a journey through his lens. He just wants his blues like BB King. Also, I have to mention that you know you're important to the culture when rap juggernauts Jabee and Chris "The God Mc" Cain pull up. It was like 3 Kings, truly a moment for hip-hop! 
Time For A Hard Truth...... The track Tell Me. I'm not the fan of. It's a love song that felt forced. The vocalist's performance on the track could have been stronger. It felt more like an in the shower performance than a man singing about love. The energy was so low and mundane. It's missing the passion. I think it's Steph's own vocal presence and lyrics that literally saves the track. I would like to see the singer either redo the vocals or bring in a stronger singer using this as a reference track. Think of Some Ways is a track that signifies that Simon has figured out how to tie all of his entities into a self-sufficient machine rather than stand-alone businesses that he hustles continuously to keep going. His anchor begins with the DreamLand Festival that helps gather funds to help grow the other entities such as TMC Records and other school programming. It's also a realization that he is similar to the hip-hop pioneers like KRS One, that will open the doors for the kids to make millions even if that means he might not fully see the millions himself. He will help the kid in Monroe that will be able to see his vision through, that's legacy. And within that, like JAy-Z said, "I’m over charging niggas for what they did to the Cold Crush". This song is Rapanomics! Gotta Eat is the last track on the album. Steph Simon sounds hungry on this track, the youngins would say he's rapping like the rents due. But he has already said the rent's paid. Simon mentioned the track was written while riding the Blue Line train in Santa Monica, it would be there that he would ride bikes on the beach. It was also on this train ride that Simon saw a naked man, and that's when he had the sobering thought that life ain’t bad. Also, it was on this hour-long train ride that he actually wrote the song to 4 different beats, before choosing this one produced by Blaqthoven. My interpretation of the production is that it's really busy, it's hard at times to track where to anchor your ear to because of the competing vocals, instruments, and tempos. As crazy as Kanye is, he's good at stripping beats down and finding places for emotion over drum patterns. I wanted more of that emotion to come through on this track. The lyrics are there; the emotions aren't. To throw a listening party means that you have to have a few different elements. The right people, the right interactions, and the right equipment. I think Silhouette is a great place, but I did find that even sitting close to the speakers that it was at times hard to make out the lyrics. Bass is important, but it's more important during a listening party to be able to hear the lyrics. I think that could've been executed better. There was lots of great activations. But also I would've liked to see a few more djs and radio personnel there. But this may just be a practice run before the real album drops. I think the Google form was genius, not only are you collecting feedback but you're also collecting another contact point that is outside of the social media machines. Direct to customer. That's the answer. The final goal is to get people to listen to the album, and from everyone I polled they did. The last goal is to get those people to create content to get people to listen to the album. That's what this is. So, mission accomplished. That's what makes a good listening party. 
I do suggest that you listen to The Lost Gems. It's a great album. And it's streaming everywhere!
I also encourage you to fill out the form. The Lost Gems Listening Party Form 
We dropped a new mixtape. The Purple Tape Volume 3: Thunder in 5. I would like to thank all the artists who continue to trust us with their music, this series has become a labor of love and one we continue to do. Our goal with this tape was to celebrate the amazing artists from Oklahoma as well as to celebrate the Oklahoma City Thunder's championship win. We also wanted to destroy the argument from anyone who still says that Oklahoma artists all sound the same, because if you listen to this tape there is so much range that if you still say it after listening to this tape, then you're just hating. This tape truly is a collection of talented Oklahoma artists who are showing why Oklahoma has such an amazing music scene. But don't take my word for it. Listen to the album exclusively on BandCamp! 
We also have 5 limited-edition MP3 players that include: - 1 MP3 Player - 1 wired white earbuds - 32 GB Micro SD Card - The Purple Tape Volume 3: Thunder in 5 (preloaded on MP3 player Hit us up if you want a copy! Go jam the album and let us know what you think! Also, here's the track list. Again, thank you to all the amazing artist who contributed to the album: The Purple Tape 3 - Thunder in 5 (Tracklist)
 It's the end of the year. a great time to reflect on goals and accomplishments, but then I start to remember, there hasn't been a World Culture Music Festival this year. I look through Instagram posts and Facebook posts and even Eventbrite posts and there's not one mention of a World Culture Music Festival or a DreamLand Festival this year. We're in November, there isn't much time for promotion, let alone time to have a full-blown production like year's pasts. That's when the feeling sets in. That feeling of disappointment, that feeling that this is one more score for the argument that there's nothing to do in Tulsa. That feeling of 2020 when there wasn't a World Culture Music Festival. But does it matter? My answer is yes. For one, this was a huge stage for Oklahoma artists. For some, the World Culture Music Festival will be the biggest stage they perform on all-year, possibly their whole career. This was also a bridge for artists from other cities to see the hip-hop scene in Tulsa and how much the artists and concertgoers enjoy the music and support the scene. Also, that meant that when people did come to town they would go back to their city and tell how dope the town is, which would create more buzz for the town and the artists here. There have been collaborations that may never have happened if they didn't come to the festival. The festival was a form of appreciation in letting artists know that their hard work hadn't gone unnoticed. The revenue. The festival was a place where the dollar circulated. From vendor to vendor, artists to artists, person to vendor and artist, the dollar circulated. Also, when people came to town they stayed in hotels, they paid Ubers, they tried local restaurants. The festival brought in not only attention, but it also brought in dollars that the town benefited from. For bars this was a week where sales skyrocketed. When people came to town, they wanted to try local, and the festival championed that. But they don't know! This is one of the most frustrating parts of throwing any event. They don't know. Which is a hard to argument to challenge. Social media has become the first place for information but with the algorithm how can you confirm that everyone knows about what you've posted? There are 3 levels that I want to talk about here. 1st a simple post. If you post something and you have followers, you believe that they will see what you post right? That's iffy with the ever-changing algorithm. Which brings us to level 2, Instagram Ads. Now an Instagram ad should be the end all be all argument, right? If I use an Ad, then all my followers should see it, on top of new followers in your area or with similar interests, right? Maybe! It still depends on how good you are at setting up Instagram Ads and how well the algorithm interacts with this ad. Level 3, the last one should shut down any argument. The DM. If I DM you then you should have no excuses, with the caveat that we have to be friends. Then again Instagram can also ban your account, saying that it's a spam account. So, as you can see, there's no straightforward answer. But that doesn't mean that all three should be proof that people didn't know, but it's really close. And the promotion for the World Culture Music Festival did them all, plus fliers, plus radio ads, plus being highlighted on the news, plus whatever form of social media marketing you want to throw in there. This kind of promotion in a small town should've reached the masses. 2025 won't have a World Culture Music Festival or DreamLand Festival, we didn't even have a Hip-Hop 918 Festival (it was cancelled because of the rain), but maybe that's a good thing. Maybe the city will show up if there's ever a next one. I would love for people to not have the excuse that they didn't know about it next year, because If we do want dope events to continue to be created here, then we have to show up to the events we already have. You have to ask yourself, why would a big named act want to come somewhere where no one is going to show up? You wouldn't, you would just move on to the next big city like Dallas or Kansas City. So, I challenge everyone to show up to the next World Culture Music Festival / DreamLand Festival, even if you're tired, even if you can only come for an hour. Lastly. even if there isn't another World Culture Music Festival or DreamLand Festival, I'm appreciate for the memories they have let me be a part of. Make sure follow the @dreamlandtulsa page for all updates about the festival Also let us know how you would like to be contacted about the festival. Here's a little playlist of some of the festival's performances: 
Steph Simon "Diamond" continues to be a staple in the Oklahoma music scene. He's had an illustrious career with more highs than lows while being able to pull off some pretty impressive feats as an independent artist. The Steph Simon of today is wiser and just as driven as Stephon R'Kel. If you know you. For so long, Simon has been the glue that's kept the Tulsa hip-hop scene together, at times putting himself on the back burner while others got their shine. That's changed, Steph Simon seems to have a new energy where he's more career focused even if that means less involvement in his peers' careers. I see this as a good thing because if GUnit hadn't have concentrated on getting 50 Cent's career off the ground, there may have never been a Lloyd Banks or The Game, and especially not a Tony Yayo. Steph Simon is back, and the timing couldn't have been more perfect with the release of his new single "Built Different". The beat starts with these long sustained piano notes that create a depth that is carried throughout the track. The song has such an energy to it, especially the kick drums that creating this building effect that feels like that drive that tells you to go harder. The snare stays on course in a very military synced cadence, it guides the lister through the verse like an NPC player in a videogame. The beat lays the groundwork for Steph to do what he does best. "Got it out the mud,
At this point Steph has a superpower to make bars that are relatable and at the same time technical in both delivery and lyrical composition. Even the beginning tell just how talented of a rapper he is as they are both relatable and build to the perfect metaphor, "I built a lane like this, it was brick by brick, every day I was perfect attendance." And this is the opening bars. "Got it out the mud, had to water that dirt, Just a seed they couldn't see, now I'm in season." Steph then goes on to rap, "Lended my hands, I can't waste no more limbs. Standing on business, and Ima be still". As you can see, it's hard to pinpoint just one bar in Steph's writing because it's that good, it's technically sound, and unpacking it fully would feel like a Genius lyrical breakdown video. Don't worry, that we may be onto something. Lastly, Steph has stepped into the knowing, and that's how his music has come across. He knows he's the best and sometimes that means throwing the oop to yourself, you can hear it in his delivery that has a confidence to it. This confidence allows him to have fun on the track and experiment with different vocal effects such as in the ending where he uses a telephone vocal effect, this very creative element also reinforces the replayability of the chorus. The song plays like and anthem and has been used in various User Generated Content such as, workout videos, work videos, and overall motivational moments. You'll get it if you're Built Different!
This single might be an indication that Steph Simon is back in album mode. 4th Quarter Release? Who knows? But what I do know is that Built Different is a hit. Checkout Steph Simon's new single "Built Different". Leave a comment and let us know what you think!
Make sure you follow Steph Simon on social media:
Instagram: @stephxsimon YouTube: Steph Simon Spotify: Steph Simon  Phil Sosa pays homage to the late rapper Drakeo The Ruler in his new video "RIP Drakeo". For those who don't know was Drakeo The Ruler, was a rapper artist from Los Angelos California that has a huge following and a simple internet search returns tons of interviews, videos, and millions of monthly Spotify listeners. LA Times called him "The most original West Coast stylist in decades". Unfortunately, he was killed during a while backstage during the Once Upon a Time in LA festival in December of 2021. Phil Sosa is making sure to give Drakeo his flowers. The beat immediately goes into full production; the soft playing violin competes with the 4-part kick bass that has stamped West Coast production. The final kick bass and clap are the last added elements that make the make the beat complete and are also the distinction between the verse and the intro. The rest of the song is a running loop of this which is expected given that the track is only one minute and 36 seconds long. "RIP my nigga Drakeo, this a ruler, nigga that part" Phil Sosa is truly an artist that has found his style that is undeniably his and is representative of the time he's put into his craft. The West Tulsa artist continues to be a go-to feature for artists wanting to get their music in front of solid fanbase, which Sosa continues to grow while adding to his discography of hits. On this track in particular Sosa takes such a sorrowful subject and uses it to fuel gun his numerous gun metaphors, this one in particular pays homage to the late rapper while also showing off Sosa's rap skill, "RIP my nigga Drakeo, this a ruler, nigga that part.". What I also like about the track is that Sosa is able to switch up his flow even as the beat stays on this continuous loop, to keep the listener engaged he chops up his flow mimicking the drum pattern. Sosa gave us so much in so small of a time frame, and that's what makes him one of the best. Many have seen the impact that Drakeo The Ruler had on the rap game, there's no doubt that Phil Sosa is having his own impact on the game as he continues to drop hit after hit. Check out his new single "RIP Drakeo" and let us know what you think! 
The Dream Team was formed after the embarrassing performance of the USA men's basketball team struggling against international teams in the 1988 Olympics where they finished with a bronze medal. The 1992 Summer Olympics proved that with Michael Jordan, Magic Johnson, Charles Barkley, Karl Malone, and Patrick Ewing as your starting 5, there's no competition and not only did team USA take the gold medal, but they also left no doubt that the USA started this ballin' shit. Much like The Dream Team, Klovis Khepri and his fellow featured artists are looking to put Oklahoma hip-hop in its rightful place with the release of their new single "You Crazy". The beat starts off with this slow playing violin that reminds me of OTS J Huncho's song "Lion's Den", but also there are parts in the song where the violin plays quickly (or Détaché) creating almost an ad-lib with the verse. The track smoothly transitions into this 4-part bass kick that feels very West Coast inspired, and with Klovis Khepri having roots in Compton, it feels very natural when he sings the chorus. Phil Sosa, MikeDaDon, Sayso Da P. and OTS J. Huncho are the other featured artists on this star-studded track, which only makes me wonder, with all these artists is this a clue to possibly a larger project in the works for Klovis Khepri? What's also surprising is that again with this many featured artists that the track is only 2 minutes and 44 seconds, but I choose quality over quantity anytime. Let's see how the starting 5 did. Just like The Dream Team, each artist attacks this track differently. Phil Sosa kicks it off and delivers in 8-bars nothing short of magic, his metaphors are crazy, and his delivery is confident. He knows he can hold his own on any track. One of his lines that caught my ear, no pun intended. was when he said, "canary yellow hugging on my lob, bitch I can't hear." slight work for the hip-hop all-star. Immediately after Phil, OTS J. Huncho asserts his presence on the track by wasting no time showing off his rap skills, "I'm like T.I." I don't skate with niggas", His bars are so masterful that have to break them down like sports announcer, bar after bar, I also like that he showed love to a Tulsa legend when he said, "I'm like Josh Jacobs, because I put the G on top." Bar! Josh Jacobs, played for McClain, now plays for Green Bay Packers. slam dunk! What more do you want! Khlovis Khepri plays the point guard slash floor general on the track, not only does he make sure everyone gets shine, but he also makes sure that everything stays on track. But let's not forget that he's also a scorer, so it's no surprise when he comes in with a verse of his own, "hottie in the East who say Klovis you a 1 of 1", his delivery is so much in a pocket that your drawn in by his melodic rapping. Next up is MikeDaDon he's been one of those songwriters that knows how to make a hit and his own lane as an artist that can do it all, "I been a P ever since Phat Pharm", it's lines like these that showcase why putting him on the track just makes sense. The last artist on the track is Sayso Da P, who is the wild card. He delivers on the track with swagger as well as a few bars, "Mister swing my dough, like a nigga playing Top Golf". If you don't think this is a hit. YOU CRAZY! It's crazy to think you can see this many stars on the same track, it had to be what fans felt when they saw Jordan and Magic on the same team. Take a listen and let us know what you think!
Make sure you follow all these amazing artists on social media:
Klovis Khepri Instagram: @klovis_khepri Klovis Khepri Spotify: Klovis Khepri Phil Sosa Instagram: @philsosa23 Phil Sosa Spotify: Phil Sosa MikeDaDon Instagram: @itsmikedadon MikeDaDon Spotify: MikeDaDon Sayso Da P Instagram: @saysodap Sayso Da P Spotify: Sayso Da P OTS J Huncho Instagram: @ots_jhuncho OTS J Huncho Spotify: OTS J Huncho Also checkout the video below: |
About Author
|
RSS Feed