Music
Press
If anything, Big Baz’s latest mixtape, The Blind Side, is true to form. With a style and Southern drawl smacking of Bun B and Rick Ross, Baz sticks to the tried-and-true topics of authentic Southern rap—mainly money, cars and women—over samples provided by DJ Mr. Big.
Yet these elements alone do not a rap star make. What’s missing from The Blind Side is substance, a claim that may sound slightly ridiculous given the typical superficiality of lyrics in similar “trap music.” Yet listen to T.I., Gucci Mane, hell, even Waka Flocka, and you’ll notice that even in their mixtapes there are underlying narratives there, back stories that give their most absurd verses of self-adulation some credibility (or, at the very least, make a case for empathy).
To be fair, developing this narrative is a process that takes time, and there are glimmers of potential greatness in The Blind Side. For instance, “Basi Got” is a relatively graphic song about an encounter with a girl that’s, uh, sexual in nature, yet Baz is genuinely having fun with the verses, and it shows. Those moments of sincerity are so much more appealing than just rehashing tired old Deep-South-gangsta clichés, which unfortunately Baz is wont to do. In “The Cypher,” Baz even has the audacity to have an implied crowd cheer like the end of his “freestyle” verse wasn’t a recycled Lil Wayne line. Really?
Baz’s story is still being written, and while it could eventually culminate in hip-hop fame, it won’t happen with this mixtape. But he’s on the right track: he’s got the style down pat, but more importantly the attitude is there, and when it comes to establishing yourself in this genre, that’s half the battle.
John Granofsky
- The Flagpole
If anything, Big Baz’s latest mixtape, The Blind Side, is true to form. With a style and Southern drawl smacking of Bun B and Rick Ross, Baz sticks to the tried-and-true topics of authentic Southern rap—mainly money, cars and women—over samples provided by DJ Mr. Big.
Yet these elements alone do not a rap star make. What’s missing from The Blind Side is substance, a claim that may sound slightly ridiculous given the typical superficiality of lyrics in similar “trap music.” Yet listen to T.I., Gucci Mane, hell, even Waka Flocka, and you’ll notice that even in their mixtapes there are underlying narratives there, back stories that give their most absurd verses of self-adulation some credibility (or, at the very least, make a case for empathy).
To be fair, developing this narrative is a process that takes time, and there are glimmers of potential greatness in The Blind Side. For instance, “Basi Got” is a relatively graphic song about an encounter with a girl that’s, uh, sexual in nature, yet Baz is genuinely having fun with the verses, and it shows. Those moments of sincerity are so much more appealing than just rehashing tired old Deep-South-gangsta clichés, which unfortunately Baz is wont to do. In “The Cypher,” Baz even has the audacity to have an implied crowd cheer like the end of his “freestyle” verse wasn’t a recycled Lil Wayne line. Really?
Baz’s story is still being written, and while it could eventually culminate in hip-hop fame, it won’t happen with this mixtape. But he’s on the right track: he’s got the style down pat, but more importantly the attitude is there, and when it comes to establishing yourself in this genre, that’s half the battle.
John Granofsky
- The Flagpole
If anything, Big Baz’s latest mixtape, The Blind Side, is true to form. With a style and Southern drawl smacking of Bun B and Rick Ross, Baz sticks to the tried-and-true topics of authentic Southern rap—mainly money, cars and women—over samples provided by DJ Mr. Big.
Yet these elements alone do not a rap star make. What’s missing from The Blind Side is substance, a claim that may sound slightly ridiculous given the typical superficiality of lyrics in similar “trap music.” Yet listen to T.I., Gucci Mane, hell, even Waka Flocka, and you’ll notice that even in their mixtapes there are underlying narratives there, back stories that give their most absurd verses of self-adulation some credibility (or, at the very least, make a case for empathy).
To be fair, developing this narrative is a process that takes time, and there are glimmers of potential greatness in The Blind Side. For instance, “Basi Got” is a relatively graphic song about an encounter with a girl that’s, uh, sexual in nature, yet Baz is genuinely having fun with the verses, and it shows. Those moments of sincerity are so much more appealing than just rehashing tired old Deep-South-gangsta clichés, which unfortunately Baz is wont to do. In “The Cypher,” Baz even has the audacity to have an implied crowd cheer like the end of his “freestyle” verse wasn’t a recycled Lil Wayne line. Really?
Baz’s story is still being written, and while it could eventually culminate in hip-hop fame, it won’t happen with this mixtape. But he’s on the right track: he’s got the style down pat, but more importantly the attitude is there, and when it comes to establishing yourself in this genre, that’s half the battle.
John Granofsky
- The Flagpole
If anything, Big Baz’s latest mixtape, The Blind Side, is true to form. With a style and Southern drawl smacking of Bun B and Rick Ross, Baz sticks to the tried-and-true topics of authentic Southern rap—mainly money, cars and women—over samples provided by DJ Mr. Big.
Yet these elements alone do not a rap star make. What’s missing from The Blind Side is substance, a claim that may sound slightly ridiculous given the typical superficiality of lyrics in similar “trap music.” Yet listen to T.I., Gucci Mane, hell, even Waka Flocka, and you’ll notice that even in their mixtapes there are underlying narratives there, back stories that give their most absurd verses of self-adulation some credibility (or, at the very least, make a case for empathy).
To be fair, developing this narrative is a process that takes time, and there are glimmers of potential greatness in The Blind Side. For instance, “Basi Got” is a relatively graphic song about an encounter with a girl that’s, uh, sexual in nature, yet Baz is genuinely having fun with the verses, and it shows. Those moments of sincerity are so much more appealing than just rehashing tired old Deep-South-gangsta clichés, which unfortunately Baz is wont to do. In “The Cypher,” Baz even has the audacity to have an implied crowd cheer like the end of his “freestyle” verse wasn’t a recycled Lil Wayne line. Really?
Baz’s story is still being written, and while it could eventually culminate in hip-hop fame, it won’t happen with this mixtape. But he’s on the right track: he’s got the style down pat, but more importantly the attitude is there, and when it comes to establishing yourself in this genre, that’s half the battle.
John Granofsky
- The Flagpole
If anything, Big Baz’s latest mixtape, The Blind Side, is true to form. With a style and Southern drawl smacking of Bun B and Rick Ross, Baz sticks to the tried-and-true topics of authentic Southern rap—mainly money, cars and women—over samples provided by DJ Mr. Big.
Yet these elements alone do not a rap star make. What’s missing from The Blind Side is substance, a claim that may sound slightly ridiculous given the typical superficiality of lyrics in similar “trap music.” Yet listen to T.I., Gucci Mane, hell, even Waka Flocka, and you’ll notice that even in their mixtapes there are underlying narratives there, back stories that give their most absurd verses of self-adulation some credibility (or, at the very least, make a case for empathy).
To be fair, developing this narrative is a process that takes time, and there are glimmers of potential greatness in The Blind Side. For instance, “Basi Got” is a relatively graphic song about an encounter with a girl that’s, uh, sexual in nature, yet Baz is genuinely having fun with the verses, and it shows. Those moments of sincerity are so much more appealing than just rehashing tired old Deep-South-gangsta clichés, which unfortunately Baz is wont to do. In “The Cypher,” Baz even has the audacity to have an implied crowd cheer like the end of his “freestyle” verse wasn’t a recycled Lil Wayne line. Really?
Baz’s story is still being written, and while it could eventually culminate in hip-hop fame, it won’t happen with this mixtape. But he’s on the right track: he’s got the style down pat, but more importantly the attitude is there, and when it comes to establishing yourself in this genre, that’s half the battle.
John Granofsky
- The Flagpole
If anything, Big Baz’s latest mixtape, The Blind Side, is true to form. With a style and Southern drawl smacking of Bun B and Rick Ross, Baz sticks to the tried-and-true topics of authentic Southern rap—mainly money, cars and women—over samples provided by DJ Mr. Big.
Yet these elements alone do not a rap star make. What’s missing from The Blind Side is substance, a claim that may sound slightly ridiculous given the typical superficiality of lyrics in similar “trap music.” Yet listen to T.I., Gucci Mane, hell, even Waka Flocka, and you’ll notice that even in their mixtapes there are underlying narratives there, back stories that give their most absurd verses of self-adulation some credibility (or, at the very least, make a case for empathy).
To be fair, developing this narrative is a process that takes time, and there are glimmers of potential greatness in The Blind Side. For instance, “Basi Got” is a relatively graphic song about an encounter with a girl that’s, uh, sexual in nature, yet Baz is genuinely having fun with the verses, and it shows. Those moments of sincerity are so much more appealing than just rehashing tired old Deep-South-gangsta clichés, which unfortunately Baz is wont to do. In “The Cypher,” Baz even has the audacity to have an implied crowd cheer like the end of his “freestyle” verse wasn’t a recycled Lil Wayne line. Really?
Baz’s story is still being written, and while it could eventually culminate in hip-hop fame, it won’t happen with this mixtape. But he’s on the right track: he’s got the style down pat, but more importantly the attitude is there, and when it comes to establishing yourself in this genre, that’s half the battle.
John Granofsky
- The Flagpole
Discography
Classic City Sample 2001
Ghetto Grind Mixtape 2006
Man Of The Year LP 2008
The Blind Side Mixtape 2011
"I Do It" 2012
"We Gon' Party" 2013
Photos
Bio
Dynamik Baz AKA Big Baz, the writer, rapper, entertainer, producer and engineer has been writing music for 14 years. He got serious in the year 2000 when he purchased his first beat machine. He immediately started Dynamik Entertainment/Productions. It all started when he began writing poetry in elementary. He continued to write poetry from then until he entered college on a football scholarship. After graduating from Cedar Shoals High School in 2001, he enrolled at Edward Waters College in Jacksonville, Florida. After being at EWC for just a few weeks he began to gain a fan base from his Classic City Sample released July 4, 2001, in which he sold out of all 800 copies in just 2 weeks. He began to work with rappers and singers from as far north as Chicago, to as far south as Homestead, Florida and out to Houston, Texas. One of who became Grammy nominated Engineer/Producer "4Mill", formally known as "J4." After doing talent shows at the school, he gained an even bigger fan base after he got 250 more copies of his sample dubbed. Those were gone in a matter of days. After a brief two year stay at EWC he came back home to pursue his musical dream. In that time he has done numerous shows and performances. He has been on the same ticket as many local and industry artists. He has been on the same ticket to open up for Crime Mob as well as the legendary Memphis group 8Ball & MJG. He has also performed with the likes of local artists such as Young Dential, Amun Ra, Tony B, King Hill, C. Fresh, Big Body, the late Figaro, and many other local artists. He has worked with multi platinum songwriter/producer Fat Shan and his engineer which have worked with the likes of TLC, Bubba Sparxxx, Usher, Attitude, local figure Dirt Reynolds formerly known as Duddy Ken and many more, and looking forward to working with many more in the very near future. He has been widely known for his smooth rhyming style and his ability to finesse a track. His tone and voice are like no other.
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