Woo Child

The Prime Time Players may have the fast-talking A.W. acting as their representation, but they also have the support of a quick linguist of another kind: Woo Child. The rap artist behind the Players' entrance theme "Move (Get It In),” Woo Child says he is solidly in the corner of Titus O'Neil and Darren Young. (WOO CHILD'S WEBSITE)

"Prime Time Players all day," the Flint, Mich.-born emcee said with a proud chuckle in a recent interview with WWE.com "Those Prime Time Players got that swing, they're coming for the millions of dollars and that's all there is to it. Woo Child's got their backs."

Woo Child, whose latest album, "Anywhere," was just released on iTunes, has followed O'Neil since the arrogant powerhouse began using "Move (Get It In)" as his entrance music on WWE NXT. Once O'Neil paired with Young and the team moved to SmackDown, curiosity in the song spiked, Woo Child noted, saying “Twitter went crazy.” He’s closely watched their ascent up the tag standings ever since.

"I just got really excited," he said. "I've loved watching Titus and Darren’s progression and hopefully they win the Tag Team Titles."

Though O’Neil and Young are the first Superstars to use his music, Woo Child is far from a stranger to the mat game. A former high school wrestler and a WWE fan from childhood, he was followed Ultimate Warrior, Andre the Giant and fellow Michiganders Rick & Scott Steiner growing up.

Raised 45 minutes outside Detroit, Woo Child was naturally influenced by Motown and R&B. With his songs already used by sports brands such as the Los Angeles Lakers and the MLB Network, the fast-rising rap artist describes his music as fun and upbeat.

“It has that energy that people respond to, and when people hear it, it goes along with the high-energy, high-impact feeling that a sport brings,” he said.

Just don’t expect Woo Child to switch allegiances any time soon. If he had the opportunity to perform his music for any Superstar at WrestleMania, he said he’d stick with his “home team” of O’Neil and Young.

“They gave me the first opportunity and I can’t see myself turning my back on the people who gave me the opportunity just for somebody who has a bigger name at the time,” Woo Child said. He added, “I think if given the shot, Darren and Titus can be household names as well." - WWE.com

The Prime Time Players may have the fast-talking A.W. acting as their representation, but they also have the support of a quick linguist of another kind: Woo Child. The rap artist behind the Players' entrance theme "Move (Get It In),” Woo Child says he is solidly in the corner of Titus O'Neil and Darren Young. (WOO CHILD'S WEBSITE)

"Prime Time Players all day," the Flint, Mich.-born emcee said with a proud chuckle in a recent interview with WWE.com "Those Prime Time Players got that swing, they're coming for the millions of dollars and that's all there is to it. Woo Child's got their backs."

Woo Child, whose latest album, "Anywhere," was just released on iTunes, has followed O'Neil since the arrogant powerhouse began using "Move (Get It In)" as his entrance music on WWE NXT. Once O'Neil paired with Young and the team moved to SmackDown, curiosity in the song spiked, Woo Child noted, saying “Twitter went crazy.” He’s closely watched their ascent up the tag standings ever since.

"I just got really excited," he said. "I've loved watching Titus and Darren’s progression and hopefully they win the Tag Team Titles."

Though O’Neil and Young are the first Superstars to use his music, Woo Child is far from a stranger to the mat game. A former high school wrestler and a WWE fan from childhood, he was followed Ultimate Warrior, Andre the Giant and fellow Michiganders Rick & Scott Steiner growing up.

Raised 45 minutes outside Detroit, Woo Child was naturally influenced by Motown and R&B. With his songs already used by sports brands such as the Los Angeles Lakers and the MLB Network, the fast-rising rap artist describes his music as fun and upbeat.

“It has that energy that people respond to, and when people hear it, it goes along with the high-energy, high-impact feeling that a sport brings,” he said.

Just don’t expect Woo Child to switch allegiances any time soon. If he had the opportunity to perform his music for any Superstar at WrestleMania, he said he’d stick with his “home team” of O’Neil and Young.

“They gave me the first opportunity and I can’t see myself turning my back on the people who gave me the opportunity just for somebody who has a bigger name at the time,” Woo Child said. He added, “I think if given the shot, Darren and Titus can be household names as well." - WWE.com

Woo Child is Midwest Hip-Hop to the core. The St. Louis based, Flint, Michigan born
and raised emcee is a good representation of what the heartland of the country has to
offer from the genre. Like his Flint predecessor, the late MC Breed, Woo Child could
very well be the next big thing from his well respected city. He sings and raps so he's a
pretty good artist.

"Anywhere" is the title track to Woo's latest project and it's a good way to open the
album. The beat is well produced and offers a nice dose of bass to get any hip-hop
head's trunk rattling.

Another key song from Woo Child is "She Knows". A very melodic track that will get
your head nodding and displays Woo's singing talent, something that has been a
signature of Midwest rap artists since the 1990s. I found myself singing "Look around,
they know, she knows, we know it's going down."

This EP has a lot of very strong songs, and if promoted properly will make Woo Child a
favorite of many hip-hop fans everywhere. Other key songs to check out on Woo's
'Anywhere' EP include, "I Am", "Oh No", "Move (Get It In)". - I Am Entertainment Magazine

Once again I can't help but question my newest platter's title. As any fan knows, a record's name isn't all that important to the actual product, but the occasional moniker choice is either so fresh ("It Takes a Nation...," "Hip Hop is Dead," etc) or so awkward ("Extinction Level Event (The Final World Front)") as to forever be remembered, whether the actual music is any good or not. Unfortunately, a truly bad title can stop the listener in his or her tracks even before giving the artist a chance. So to be presented right off the bat by Woo Child with a bewildering acronym is a little disconcerting (U.R.O.A.? More like W.T.F.). I appreciate the sentiment, but the shit just don't make sense. Step ya game up.

Moving on, the actual album is pretty damn good, so please don't be scared away too early. The Michigan native Woo Child, self-proclaimed as "giv[ing] a fuck about your trends and still got a hot sound," is both able-tongued and mad resourceful lyrically. His voice is blessed with a prepubescent inflection that is both refreshing and amusing (most effective when employed to discuss tough times and vulnerability, most amusing when delivering standard tough talk, making a chorus of "Get the Fuck up!" sound more desperate than demanding).

The essence of U.R.O.A., both sonically and lyrically, is its versatility, which some would claim to be a euphemism for disjointed. I checked off the "I'm the shit" track, the bounce/club joint, the shattered love song, the striving for better anthem, and the ode to mom; and that was just in the first six tracks!

Owing to his geographic (and by extension, cultural) placement in the Midwest, and further, outside of traditionally acknowledged strong points Chicago and Minneapolis, Woo Child is an artist that can employ any style but has no true signature sound of his own. Quick quiz: what's the defining feature of Michigan hip hop? I can't say either.

So depending on your opinion, this chameleonic approach is either impressive and stimulating or scattershot. Within three well-established categories of rap (personal confessionals, club/sex joints and get-up-in-dat-ass battle raps), Woo explores familiar tropes of both the underground and mainstream. The Child is saved from formulaic pap, however, by the little flourishes of freshness that he applies to well-worn tropes. Listen up: just when you think the obligatory and seemingly-idiotic club jam "We Up in Here" will be another three minutes of your life wasted, you notice that Woo is flipping the standard Bling bragging on some broke-but-still-fly type shit, a new anthem for us flat-not-fat pocketed macks.

Similarly, his confessionals are in danger of being simultaneously vague and painfully candid, but he manages to include enough technical mastery and complex originality to make up for any muddled philosophical bullshit (a la Nas). The heart of the album also suffers from too much introspection, as on at least five tracks Woo spits his lyrics directly to someone he knows personally (whether his mom, his locked up partner, his special lady, etc). The audience is left to feel slightly voyeuristic, if still interested.

As mentioned earlier, the sonic palette attempts to follow these many moods and lyrical tropes, and the individual songs are uniformly satisfying platters, but the finished product (a jumble of 18 joints) has very little uniformity or movement to it. This is usually what distinguishes a good album from a great one, or a talented artist from an emcee with a scope of vision that captivates. Woo is undoubtedly talented and able to flip different styles at will. I'd just like to see him pick one or two and create a statement just as powerful but less indistinct than his U.R.O.A. title suggests.

Music Vibes: 7 of 10 Lyric Vibes: 8 of 10 TOTAL Vibes: 7.5 of 10 - RapReviews.com

Once again I can't help but question my newest platter's title. As any fan knows, a record's name isn't all that important to the actual product, but the occasional moniker choice is either so fresh ("It Takes a Nation...," "Hip Hop is Dead," etc) or so awkward ("Extinction Level Event (The Final World Front)") as to forever be remembered, whether the actual music is any good or not. Unfortunately, a truly bad title can stop the listener in his or her tracks even before giving the artist a chance. So to be presented right off the bat by Woo Child with a bewildering acronym is a little disconcerting (U.R.O.A.? More like W.T.F.). I appreciate the sentiment, but the shit just don't make sense. Step ya game up.

Moving on, the actual album is pretty damn good, so please don't be scared away too early. The Michigan native Woo Child, self-proclaimed as "giv[ing] a fuck about your trends and still got a hot sound," is both able-tongued and mad resourceful lyrically. His voice is blessed with a prepubescent inflection that is both refreshing and amusing (most effective when employed to discuss tough times and vulnerability, most amusing when delivering standard tough talk, making a chorus of "Get the Fuck up!" sound more desperate than demanding).

The essence of U.R.O.A., both sonically and lyrically, is its versatility, which some would claim to be a euphemism for disjointed. I checked off the "I'm the shit" track, the bounce/club joint, the shattered love song, the striving for better anthem, and the ode to mom; and that was just in the first six tracks!

Owing to his geographic (and by extension, cultural) placement in the Midwest, and further, outside of traditionally acknowledged strong points Chicago and Minneapolis, Woo Child is an artist that can employ any style but has no true signature sound of his own. Quick quiz: what's the defining feature of Michigan hip hop? I can't say either.

So depending on your opinion, this chameleonic approach is either impressive and stimulating or scattershot. Within three well-established categories of rap (personal confessionals, club/sex joints and get-up-in-dat-ass battle raps), Woo explores familiar tropes of both the underground and mainstream. The Child is saved from formulaic pap, however, by the little flourishes of freshness that he applies to well-worn tropes. Listen up: just when you think the obligatory and seemingly-idiotic club jam "We Up in Here" will be another three minutes of your life wasted, you notice that Woo is flipping the standard Bling bragging on some broke-but-still-fly type shit, a new anthem for us flat-not-fat pocketed macks.

Similarly, his confessionals are in danger of being simultaneously vague and painfully candid, but he manages to include enough technical mastery and complex originality to make up for any muddled philosophical bullshit (a la Nas). The heart of the album also suffers from too much introspection, as on at least five tracks Woo spits his lyrics directly to someone he knows personally (whether his mom, his locked up partner, his special lady, etc). The audience is left to feel slightly voyeuristic, if still interested.

As mentioned earlier, the sonic palette attempts to follow these many moods and lyrical tropes, and the individual songs are uniformly satisfying platters, but the finished product (a jumble of 18 joints) has very little uniformity or movement to it. This is usually what distinguishes a good album from a great one, or a talented artist from an emcee with a scope of vision that captivates. Woo is undoubtedly talented and able to flip different styles at will. I'd just like to see him pick one or two and create a statement just as powerful but less indistinct than his U.R.O.A. title suggests.

Music Vibes: 7 of 10 Lyric Vibes: 8 of 10 TOTAL Vibes: 7.5 of 10 - RapReviews.com

This long awaited debut lp by Flint, MI own, Woo Child, doesn't fail to deliver on any level. For an independently produced LP, the production is top notch and well crafted. Though some tracks do seem to get a tad repetative and monotonous, Woo Child's dizzing, machine gun flow will keep your finger away from the "Next track" button. Some joints to look out for are, F-L-I feat. Mark Scott and Double U Double O. You can check Woo's site out at www.WooChild.com - BlueFortune.com

This long awaited debut lp by Flint, MI own, Woo Child, doesn't fail to deliver on any level. For an independently produced LP, the production is top notch and well crafted. Though some tracks do seem to get a tad repetative and monotonous, Woo Child's dizzing, machine gun flow will keep your finger away from the "Next track" button. Some joints to look out for are, F-L-I feat. Mark Scott and Double U Double O. You can check Woo's site out at www.WooChild.com - BlueFortune.com

Woo Child, his lyrical abilities and skills in creating a plethora of Hip-Hop styles, are quickly gaining him worldwide recognition. An extraordinary twenty-two year old Hip-Hop artist from Flint, Michigan (currently residing in St. Louis), generated his own buzz. With the release of his CD, which garnered him enough attention to have inked a deal with Angel Magic Music which will re-release "Bridge The Gap." Go to http://www.angelmagicmusic.com/woochild.html to sample Woo-Child. "Bridge The Gap" in Woo’s own words is "a look into my world, a sort of yin and yang. There is more to each person than just what they portray themselves as, and on this album I let you see a glimpse of all that makes me."

Woo possesses veteran qualities, tight flows, cohesive, variations in production, and is versatile with his content. The little known fact is he has only been rhyming four years. There are similarities of Mad-Skillz, in his vocal delivery, that's is a break from the norm. If you log into the above web-site you will be treated to a few standout songs, "F-L-I feat Mark Scott" is up-tempo with interrupted high and low horn stabs, in addition to Mark Scott lending a vocal hook from "Fly Robin, Fly". "Double U Double Oh" the braggadocios track introducing himself, that is more mid-tempo in range with a heavier bass-line, bigger drums, with a more regional hook to it, was originally his demo, which then became his first single release. "Don't Leave feat. Mark Scott" with the melodic vocal chorus, over smooth chords and piano pieces, seamlessly adding swirling glass rims, while Woo effortlessly relates the story of a child's urban growing pains and strife. Impressive...yes! Talented...yes!! It's music that can appreciated and recited. Hip-Hop enthusiast here's a new find, look out for Woo-Child as he picks up steam getting things together this summer. - theCyberkrib.com

Woo Child, his lyrical abilities and skills in creating a plethora of Hip-Hop styles, are quickly gaining him worldwide recognition. An extraordinary twenty-two year old Hip-Hop artist from Flint, Michigan (currently residing in St. Louis), generated his own buzz. With the release of his CD, which garnered him enough attention to have inked a deal with Angel Magic Music which will re-release "Bridge The Gap." Go to http://www.angelmagicmusic.com/woochild.html to sample Woo-Child. "Bridge The Gap" in Woo’s own words is "a look into my world, a sort of yin and yang. There is more to each person than just what they portray themselves as, and on this album I let you see a glimpse of all that makes me."

Woo possesses veteran qualities, tight flows, cohesive, variations in production, and is versatile with his content. The little known fact is he has only been rhyming four years. There are similarities of Mad-Skillz, in his vocal delivery, that's is a break from the norm. If you log into the above web-site you will be treated to a few standout songs, "F-L-I feat Mark Scott" is up-tempo with interrupted high and low horn stabs, in addition to Mark Scott lending a vocal hook from "Fly Robin, Fly". "Double U Double Oh" the braggadocios track introducing himself, that is more mid-tempo in range with a heavier bass-line, bigger drums, with a more regional hook to it, was originally his demo, which then became his first single release. "Don't Leave feat. Mark Scott" with the melodic vocal chorus, over smooth chords and piano pieces, seamlessly adding swirling glass rims, while Woo effortlessly relates the story of a child's urban growing pains and strife. Impressive...yes! Talented...yes!! It's music that can appreciated and recited. Hip-Hop enthusiast here's a new find, look out for Woo-Child as he picks up steam getting things together this summer. - theCyberkrib.com

With everyone from 50 Cent to Dipset pounding the streets with mixtapes, it has become common practice for virtual unknowns to make their mark o­n the mixtape scene. Typically, these upstarts follow the same formula introduced by the likes of DJ Clue, Kay Slay, Green Lantern and others, failing to set themselves apart from their peers. Enter, Woo Child. Woo Child's release "Industry Takeover", follows the tride and true Emcee show and prove "freestyle" ethic that the mixtape scene is known for, without sounding like you're average punchline emcee. Along side the witty lyrics and club bangers, you'll find substance and a flow that is rivaled by few, and admired by the many fortunate enough to be in the know about this diamond in the rough.
- EarthHipHop.com

With everyone from 50 Cent to Dipset pounding the streets with mixtapes, it has become common practice for virtual unknowns to make their mark o­n the mixtape scene. Typically, these upstarts follow the same formula introduced by the likes of DJ Clue, Kay Slay, Green Lantern and others, failing to set themselves apart from their peers. Enter, Woo Child. Woo Child's release "Industry Takeover", follows the tride and true Emcee show and prove "freestyle" ethic that the mixtape scene is known for, without sounding like you're average punchline emcee. Along side the witty lyrics and club bangers, you'll find substance and a flow that is rivaled by few, and admired by the many fortunate enough to be in the know about this diamond in the rough.
- EarthHipHop.com

If there’s any sort of promise to be shown within a lyricist, its not hard to find in Woo Child, as the concept "some emcee’s come, and some emcees don’t come out at all" comes to mind. Woo Child comes live with hard hitting, tongue twisting vocal missiles that surely blow up any microphone that dare attempts to harness the power of woo’s flow, unlike some of his competition. Highly proclaimed throughout hip hop’s underground, this rhyme slayer is destine to reach beyond the stars, constantly dealing rawly intense hip hop music to craving fans suffering from the itch. "

While most of Woo Child’s tracks have a "laid back" feel to them, some surely shock listeners with rhymes too hype to hold. Regardless of the aura the rhyme is presented in, lyrical context is equally as ill in every track presented on the "Double U Double Oh" album. The key ingredients needed to mix up a tasty album are all present.

Sure to be favorite tracks such as "12 Seconds", "My Life", and "Clarity" make Double U Double Oh an album worthy of being held in heavy rotation. The way in which the complexity of the lyrics, punch lines are presented is so smooth, the rhymes are still held as being easy to relate too.

Coming raw with non stop abrasive flows that bite, Woo Child’s hot album "Double U Double Oh" is definitely something every fan should check out. Weak points are unseen in any terms, as this album reaches for the peak, giving fans some raw, tight, intense, hip hop music they can enjoy and vibe.

One of Woo Child’s strongest attributes is the way in which he presents his music with so much feeling and heart that it comes across to the listeners very impacting. Be on the look out for Woo, and check out the album now.

Lyrical Content: The lyrical content presented on this album is easily some of the best content presented on a underground hip hop album. Style, punch lines, flow, structure, presentation, metaphor, vocab, all come together to create some highly ill lyrical content on the "Double U Double Oh" album.

Beat Content: The beats presented on this album are worthy of the lyrical content, coming fresh, banging, and definitely moving. Possibly the best beat on the album backs the tight lyrics presented on the track entitled "My Life". Like most of the lyrics Woo Child presents, the beat grasps a hold of you til you feel it, feel me? - HipHopHotSpot.com

If there’s any sort of promise to be shown within a lyricist, its not hard to find in Woo Child, as the concept "some emcee’s come, and some emcees don’t come out at all" comes to mind. Woo Child comes live with hard hitting, tongue twisting vocal missiles that surely blow up any microphone that dare attempts to harness the power of woo’s flow, unlike some of his competition. Highly proclaimed throughout hip hop’s underground, this rhyme slayer is destine to reach beyond the stars, constantly dealing rawly intense hip hop music to craving fans suffering from the itch. "

While most of Woo Child’s tracks have a "laid back" feel to them, some surely shock listeners with rhymes too hype to hold. Regardless of the aura the rhyme is presented in, lyrical context is equally as ill in every track presented on the "Double U Double Oh" album. The key ingredients needed to mix up a tasty album are all present.

Sure to be favorite tracks such as "12 Seconds", "My Life", and "Clarity" make Double U Double Oh an album worthy of being held in heavy rotation. The way in which the complexity of the lyrics, punch lines are presented is so smooth, the rhymes are still held as being easy to relate too.

Coming raw with non stop abrasive flows that bite, Woo Child’s hot album "Double U Double Oh" is definitely something every fan should check out. Weak points are unseen in any terms, as this album reaches for the peak, giving fans some raw, tight, intense, hip hop music they can enjoy and vibe.

One of Woo Child’s strongest attributes is the way in which he presents his music with so much feeling and heart that it comes across to the listeners very impacting. Be on the look out for Woo, and check out the album now.

Lyrical Content: The lyrical content presented on this album is easily some of the best content presented on a underground hip hop album. Style, punch lines, flow, structure, presentation, metaphor, vocab, all come together to create some highly ill lyrical content on the "Double U Double Oh" album.

Beat Content: The beats presented on this album are worthy of the lyrical content, coming fresh, banging, and definitely moving. Possibly the best beat on the album backs the tight lyrics presented on the track entitled "My Life". Like most of the lyrics Woo Child presents, the beat grasps a hold of you til you feel it, feel me? - HipHopHotSpot.com