WilliBanz
Willibanz .AKA . BG lil WILL
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Mo Gbowo Ni Compton
rap, Laid-back West Coast bounce with swingy drums, rubbery sub-bass, and clean sine-lead hooks. Male vocals, half-sung Yoruba and pidgin cadences with call-and-response ad-libs. Verses ride a sunny, head-nod pocket; hook widens with stacked gang-style chants and octave doubles. Subtle high-pitched pads in the back, crisp claps, and a touch of tape saturation for grit.
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Where's My Wifey
rap, Smooth West Coast bounce with glossy synth leads and round bass, mid-tempo. Laid-back male rap in the verses, big melodic male vocals on the hook. Chorus stacks harmonies on the title line, crowd-style shouts on the repeated “you?” for a viral TikTok-ready moment. Clean, crisp drums, subtle talkbox accents, and a sunny but slightly wistful energy arc., male vocals
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COMPTOSHADE (Believe in My City)
rap, West Coast lowrider slap with rubbery bass, crisp rimshots, and eerie keys; male vocals laid back but confident, doubling on the hook. Subtle talkbox harmonies in the chorus, beat drops to half-time on the bridge then slams back in for the final hook.
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Katrina on the freeway
Hip-Hop, Trap, Smooth Rap, Modern Car Vibe with bass-heavy beats and sleek synths
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East Meets West: Climbing to the Top
Hip-Hop, East Coast vibe, energetic beats, rap vocals, collaborative spirit
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WILLI BANZ: Monster in the Shadows
Hip-Hop, Monster-themed, aggressive flow, dark beats, trap elements
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Way of Life
Gritty West Coast Hip-Hop, hardcore, rhythmic, street-inspired beats with deep bass and punchy drums
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Say My Name Two Times
rap, Gritty West Coast knock with swung drums, rubbery sub-bass, and eerie bell stabs. Male vocals, laid-back but menacing pocket, with ad-lib doubles on key end words. Hook rides a simple chant, verses stack detailed flexes and Compton grit. Subtle horror-movie synth pads creep in on pre-chorus, last chorus adds crowd-style gang vocals and a stuttered drop on the title line., beats
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Willi BANZ - Rising to the Top
West Coast rap, energetic, with funk-inspired beats, sleek synths, and confident vocals
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She Left the Club
rap, Moody R&B-rap hybrid with male vocals: sparse, swung drums and round sub, dark Rhodes chords and distant pad. Verses half-rapped with close, intimate vocal; hook opens into melodic singing with stacked harmonies and soft auto-tune shimmer. Occasional pitched vocal chops echo key phrases. Slow-burn energy, heavy low-end, late-night cruise vibe., r&b
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RAP ZILLA!
rap, Bouncy West Coast slap with rubbery sub bass, talkbox-style hook, and crisp claps. Male vocals riding behind the beat, ad-libs wide in the stereo field. Verses stay tight and cocky; hook explodes with stacked chants and crowd responses. Simple synth leads echo the vocal phrases, with a short DJ-style break before the last chorus.
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RAP ZILLA!
rap, Bouncy West Coast slap with rubbery sub bass, talkbox-style hook, and crisp claps. Male vocals riding behind the beat, ad-libs wide in the stereo field. Verses stay tight and cocky; hook explodes with stacked chants and crowd responses. Simple synth leads echo the vocal phrases, with a short DJ-style break before the last chorus.
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She Gotta Be From Cali
rap, Laid-back West Coast slap with rubbery bass, crisp claps, and bright synth leads. Male vocals riding a swung pocket; hook leans chanty with stacked gang vocals on key phrases. Verses stay minimal to spotlight the flow, then choruses widen with ad-libs, octave doubles, and a bouncy low-end that keeps heads nodding.
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She Gotta Be From Compton
rap, Laid-back West Coast bounce with glossy leads and deep, rubbery bass. Male vocals in a confident, playful pocket, ad-libs tucked behind main phrases. Hook explodes with stacked gang vocals, clap-heavy drums, and wide stereo pads. Verses stay sparse to let the storytelling sit upfront; short turnaround bridge with filtered beat drop before final hook.
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She Gotta Be From Compton
rap, Laid-back West Coast bounce with glossy leads and deep, rubbery bass. Male vocals in a confident, playful pocket, ad-libs tucked behind main phrases. Hook explodes with stacked gang vocals, clap-heavy drums, and wide stereo pads. Verses stay sparse to let the storytelling sit upfront; short turnaround bridge with filtered beat drop before final hook.
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She Gotta Be From Compton
rap, West Coast bounce with thick, rubbery bass and snappy claps, female vocals on a sung hook and male vocals rapping the verses; clean guitar licks and high-pitched whistles accent the groove. Hook feels bright and infectious, verses ride laid-back yet aggressive, with occasional gang vocals on key lines to make it feel like the whole block is talking.
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For The Homies
rap, Boom-bap drums with thick underground bass, dusty chopped soul sample. Male vocals, laid-back but heavy pocket; ad-libs tucked behind the lead. Hook widens with gang-style chants and subtle crowd noise texture. Final verse rides a stripped beat, then all instruments slam back for a hard stop on the title line., hip hop
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For The Homies
rap, Boom-bap drums with thick underground bass, dusty chopped soul sample. Male vocals, laid-back but heavy pocket; ad-libs tucked behind the lead. Hook widens with gang-style chants and subtle crowd noise texture. Final verse rides a stripped beat, then all instruments slam back for a hard stop on the title line., hip hop
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Clyde That Bitch Bad
rap, West Coast slap, swung drums, rubbery bassline, eerie keys. Male vocals with a laid-back but cocky pocket. Hook chants stacked with gang vocals, ad-libs tucked in the gaps. Verses ride minimalist bounce with occasional riser sweeps and filtered drops into the hook for maximum replay., hip hop
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Clyde That Bitch Bad
rap, West Coast slap, swung drums, rubbery bassline, eerie keys. Male vocals with a laid-back but cocky pocket. Hook chants stacked with gang vocals, ad-libs tucked in the gaps. Verses ride minimalist bounce with occasional riser sweeps and filtered drops into the hook for maximum replay., hip hop
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Back On The Map
rap, Gritty West Coast hip-hop bounce with thick bass, snappy drums, and eerie bell samples. Verses ride a head-nod pocket with tightly stacked male vocals and ad-libs; hook explodes with gang-style chants and octave doubles on the lead. Subtle orchestra stabs and filtered vocal chops lift the final chorus for a triumphant, street-anthem feel., hip hop
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