Straight from the working sessions
Everything on this page comes out of the actual writing and production sessions behind the catalog — the keys and tempos, the album sequencing arguments, the scene-by-scene video treatments, and in several cases the exact circumstance a song was written in.
It is not interpretation. Where a record has a documented origin — an argument after dinner that turned into a voice note, a shootout on the next block over, a former employee who became a case study — that is what is printed. Where a song has been sequenced as the answer to another song, the pair is kept together, because in this catalog the pairing is the meaning.
23 records have material deep enough to publish. The rest are documented only by key, tempo and sequencing role, and rather than invent a story for them, they are left out of this page and covered on their own release pages instead.
The album — Street Gospel, in five acts
Five songs are held for deluxe or singles: Keep It Together, Blemish The Crown, Bust The Seals, Drive On My Bitch and Him. Linked pairs drive the order: Exhaustion into Burned Out, Self Inflicted into Killer Whales, Unresolved into Open, and Live With Pain evolving into Tidal Wave. A two-part option was written out - "The Circle" mirrored by "The Answer." Title candidates included Street Gospel, Peace Become The Flex and Exhaustion Breeds Bosses.
The album is scoped to material made since the previous 20-track album Outside The Cathedral (12 May 2026, Plush Music Group), which already carries One Foot, Walk By Faith, Cautious and Fed Up. Rollout runs through DistroKid as staggered singles (Audit, Bittersweet, Levity for 1 Aug 2026; Heavy for 27 Jul 2026), excluding six titles already live, with official videos delivered through DistroVid, YouTube and Vevo and One Foot as the funnel's front door.
The process — how a record gets built
The songwriting starts from emotional honesty: he writes from whatever is emotionally honest at the time, holding a visual of a specific person, conflict or condition in mind - which is why records pair as question-and-answer or cause-and-result (Exhaustion circles the cost, Burned Out names the case study; Self Inflicted is culpability, Killer Whales the escape; Unresolved declares, Open responds). Songs also evolve: Live With Pain began as a bedroom voice note after an argument and grew into Tidal Wave, and Open modernizes an older R&B record, turning its questioning into instruction.
The production identity he calls Street Gospel blends trap, soul, blues, R&B, classical chord movement, jazz fusion, country, soft rock and light metal, filtered through church movement, music theory and color theory, deliberately placing street stories over love harmony. Its defining rule is consequence: the story does not stop at the event, it follows what it cost and what came next. Records are made in Suno, with the published final version - not the many draft takes - treated as the source of truth; the cleaned catalog of 123 published songs became master-list, style/production-notes, lyrics and A-Z documents used for sequencing and credits.
Videos are built in ATLabs as long lyric-synced scene decks of 89 to 147 scenes, treatment first, then character, object and location references locked as real @ chips rather than typed names, because text alone causes identity drift. Continuity is held with an explicit identity canon (face, build, locs, beard, tattoo placement, the diamond TOW GAWD pendant, wardrobe), positive measurements instead of stacked negations, one consolidated override block instead of competing fixes, low-credit previews before full renders, small-batch repair instead of full rerenders, and a per-scene model ladder.
Captions are always off; delivery is a widescreen master plus a vertical cut.
The front door
Where to start, and why
One Foot
Promoted as a pair with "In It & Not of It" in the attention-concentration strategy.
What is documented about "One Foot" is its position rather than a stated storyline: it is the front-door record of the catalog. It sits on the album Outside The Cathedral (released 12 May 2026) and drives most of the artist's reported 17.2K Suno plays, which is why it was made the lead anchor for the post-Cathedral release strategy, the creative for a Google Ads campaign built on its existing YouTube video, the top priority link on Linktree, a recommended TikTok pin, and the embedded front-door video on his own site, described there as the anchor record that carries the most weight in the catalog and the cleanest way into everything else.
Exhaustion → Burned Out
The question, then the name
Exhaustion
Sequenced immediately before "Burned Out" as a linked pair - Exhaustion asks, Burned Out names. Also one of the three titles he had to confirm as a standalone song after an early draft tracklist merged it into "Bust The Seals."
It sits in the E-minor block with trap-soul instrumentation and no explicit key/BPM in the manuscript.
Burned Out
Answer song to "Exhaustion" - placed directly after it in the running order (the questioning-to-naming pair).
"Burned Out" is the naming record. The artist says he writes with a visual of a specific person in mind, and this one was written about a former employee who became the case study and the target of the record - the concrete example of what "Exhaustion" only circles. It reads as hypnotic, cynical pattern recognition in trap soul, moving Em to F-sharp m7 to Fm11 to Em9, built on inverted and reversed Rhodes, detuned piano, call-and-response choir and chest-voice lead riffs.
Its cleaned lyrics were among the first prepared for distribution.
Keep It Together
"Keep It Together" is the quiet-grief record - holding on under the weight in the aftermath of depletion. It is half-time trap soul at roughly 80 BPM with a key change from F-sharp m11 to Dm11, built on ambient vocal chops, a whisper lead, low vocal pad, filtered guitar and choir sustain. Earlier sequencing placed it directly after "Burned Out" so tracks five through seven formed a grind-to-depletion-to-holding-on run.
In the final album it was held for deluxe because it overlaps thematically with "Burned Out," with the note that it is strong enough to stand alone as a single. It sat in the working queue during the singles rollout.
Self Inflicted → Killer Whales
Culpability, then displacement
Self Inflicted
Paired continuation is "Killer Whales," written in the same window and sequenced back-to-back: culpability into displacement.
"Self Inflicted" is the culpability record. The artist wrote it in early June, immediately before flying to Orlando, about what was actually happening around him at the time - including a shootout on the next block over. Its central question is whether the pain is self-inflicted or the result of his own decision: "is this pain self-inflicted / or did I make the decision." It sits in the E-minor trap-soul block and opens Act IV of the album, the survival act, as the real-world pressure just before the escape.
Killer Whales
Companion to "Self Inflicted" (written together, sequenced together).
"Killer Whales" is the displacement and escape record, written in the same window as "Self Inflicted" and functioning as its paired continuation - the Orlando trip after the block-level violence. The hook makes the jump literal: "you know a crack house you can tell by the smell / now I'm in SeaWorld watching killer whales." It is described as gospel-rooted chest tenor in E minor, and it was one of the catalog's strongest early streamers, used as a cold open in earlier proposed tracklists and treated as predator energy and a proven single.
The visual world
An ATLabs music video compiled to a 4:30 export, ending on a photorealistic National Geographic-style killer whale breaching in moonlit ocean water - the finale was deliberately pivoted away from an earlier cartoonish half-man / half-orca idea. Identity is held with live @ character references (long dreadlocks, full beard, tattoos, white crew-neck tee, red Cardinals cap, gold chains) after loose text labels caused drift, and a recurring character, Keisha, has her own complexion, age and wardrobe lock.
The finished MP4 was handed off to the Tow Gawd YouTube channel.
Live With Pain → Tidal Wave
The wound, then the flood
Live With Pain
"Tidal Wave" is its later evolution; the decision was to keep "Live With Pain" as the album-track title and reserve "Tidal Wave" for the video project and remix version.
"Live With Pain" is the original wound and, in the artist's account, the emotionally immediate first version of the idea. It came out of an argument with his girl after a Stoney River steakhouse dinner: he went into the bedroom, made a voice note - "here we go again, this is what it feel like to live with pain" - and repeated the line until it became the song. Musically it is trauma and surrender staged as an altar call, C-sharp m(add9) into F-sharp minor, roughly 75 BPM, with inverted gospel piano, low choir stacks, a street-hardened tenor and a full-power choir on the climb.
It is the emotional apex of the album's break.
The visual world
The video work was built under the "Tidal Wave" name (see that entry).
Tidal Wave
Later evolution of "Live With Pain"; also exists as a separate "Tidal Wave ft The Dispatchers" version.
"Tidal Wave" is the evolution of "Live With Pain" and the title the visual world was built under. Its documented story: the narrator is searching for escape from turbulence that follows him at every life stage, and the pressure of each phase is slowly eroding his sense of self. The tidal wave is the neutralizer that washes the eroded self away. Standing on the Eads Bridge with the tide risen almost to the deck, he realizes he no longer fears his demise, jumps into the wave as surrender and rebirth rather than despair, and emerges on the other side in a baptism pool.
Water changes from threat to rebirth rather than being spectacle.
The visual world
A 119-scene ATLabs film in five chapters: a Color Purple-inspired church opening (black grand piano, choir procession, the artist as choir director walking the aisle), a working-class trauma walk past childhood, street, court, work, family, business-rebuild and police-harassment memories while plumbers, construction workers, bricklayers, mechanics, nurses and prisoners join the procession, a flood plunge, recovery through running, calisthenics, boxing and physical therapy, and an Eads Bridge reconstruction finale where a battered lead holds the bridge up while people cross.
A Plush Tow rotator recovering a car driven off a cliff ties the flood metaphor to the towing identity. White linen, iced TOW GAWD pendant, all-Black cast, no captions; delivered as a 6:43 2K widescreen master plus a vertical cut.
Unresolved → Open
The declaration, then the answer
Unresolved
"Open" is the answer song - "Unresolved" says here is what I'm dealing with, "Open" comes back and says I'm opening now, we're open. They are sequenced back-to-back.
"Unresolved" is what the artist calls the psychological declaration - the song where the narrator states plainly what he is dealing with: "hey, this is what I'm dealing with." It is E minor (Em9 - Em7 - Cmaj7 - Dsus2), roughly 72 BPM, with clean guitar bends, soft piano, no drums and layered vocals including a "2AM Breakdown" bridge. In the album it opens Act V, the declaration act, and is one of two intentional rest points in the BPM contour.
An early draft had it benched as an interlude before the pairing logic moved it into the main sequence.
Open
Answer song to "Unresolved"; placed directly after it in Act V.
"Open" is the response record - a declaration of emotional availability: "I'm open for you, not a damn thing I won't do." The artist describes it as the sonic modernization of one of his biggest earlier songs, "Lust of Love," which was straight R&B and was written from questioning; "Open" takes the same DNA and turns the questioning into instruction. It is E minor (Em9 - Em7 - Cmaj7 - G/B) with a love-song feel, rain, soft bell, piano, low pad and stacks.
He flags that it sits partly outside the core Tow Gawd world, which was an open sequencing question.
The break
Acceptance, accounting, surrender
Bittersweet
In his own words, "Bittersweet" is about reaching acceptance: seeing that things are what they appear to be rather than what you hoped they were, and accepting something without wishing you could change it. On the album it functions as the sit-down soul breather before the record's break - a no-drums, vinyl-crackle ballad in Am9 to Gmaj7, wistful and nostalgic, built on call-and-response soul. The official video was framed the same way, with the release description written directly from that acceptance theme rather than from a plot summary.
The visual world
A 99-scene ATLabs short film titled "The Bittersweet Harvest." One man moves through many working lives - tow driver, plumber, warehouse and barge worker, fabricator, boxer, farmer, diesel mechanic, surgeon, running back - while a grapefruit orchard anchors every hook through different gestures (touching, picking, raising, cutting, cradling, smelling the fruit). Hands are the visual narrator: match cuts on hands gripping chains, tools, rope, wraps and grapefruit hold the one-person throughline, and the hands age across the film.
A cut grapefruit revealing sweet and bitter halves closes it. Five acts: orchard sunrise, labor expansion, pressure, domestic burdens, sunset resolution. No captions.
Audit
"The Audit" turns betrayal into an accounting metaphor - the hook is "this ain't love, this an audit." It is bitter and analytical, F-sharp minor at roughly 78 BPM, built on piano and a choir call-and-response that answers in ledger language ("Sponsor...", "Negative...", "Closed.") over a vamp fade. In the album sequence it sits in Act III, the break, between the acceptance ballad and the surrender record, and earlier tracklist work described its role in the arc as reckoning and taking account.
It was one of the first singles staged for distribution with saved lyrics.
Heavy
"Heavy" (carried in the manuscript with the alternate title "No More") is the surrender record - the burden coming off the shoulders. It sits in F-sharp minor at 86 BPM and is described as surrender and release in a trap-soul / gospel-soul / cinematic frame, with felt piano, pads, reverse textures, choir, strings and organ. In the album sequence it lands in Act III, the break, right before the altar-call apex. The lyric the artist pointed to as the album's thesis line for this song is "the burden off my shoulders, life was heavy." The title was locked over "No More" because it hits harder and matches the existing video project.
The visual world
An ATLabs road film reframed as a radiant journey of release: Gatlinburg and the Smoky Mountains, the Kentucky Bourbon Trail, Louisville and Whiskey Row, the Ohio River waterfront, and a golden rooftop cigar-lounge finale, built on a 4:23 storyboard of 113 short scenes. Every block changes location, action, camera movement or wardrobe so the artist is never parked in one place. Cast includes Black Bear, Father Time, Appalachian woodworkers, master distillers, horse trainers, a Southern Soul Ensemble, gospel choir, river guides and tavern owners, placed only where their story block supports it.
All-Black cast in people-heavy scenes, no captions.
The testimony
Autobiography, at full scale
Walk by Faith
"Walk by Faith" is the autobiographical street-gospel testimony: repeated loss, rebuilding the towing company, and recognizing faith as the force that was carrying the walk the whole time. The documented chronology moves through intelligence work, an arrest, a house fire, an insurance denial, a bankruptcy, a dealership that died, and a hospital room where he went blind - blindness is the dramatic floor of the film - before the rebuild.
The argument of the piece is that the walk did not make sense from inside it and only reads as faith in the rearview. The title line lands as "I went blind and couldn't see, so I walked by faith."
The visual world
A 5:25 film built as a 147-scene ATLabs storyboard in nine acts, tied to exact lyric moments. The opening image is the strip club PINK SLIP in hot pink neon standing beside a dark 19th-century church on the same block in Brooklyn, Illinois - the sacred-and-profane pairing is the Act I thesis. Feet come before face: worn-through boots on broken sidewalk, then a match cut to dress shoes on a cyan-lit intelligence floor.
Locations each carry a color: magenta for the club, cyan for the ordered pre-fall life, red-blue strobe for the arrest and fire, institutional violet and sickly green for insurance and bankruptcy, blown-out black for the blindness, amber and red for the tow yard, gold sunrise for the closing church testimony. Present-day lead at 36 and a younger 27-year-old version, plus a locked supporting cast; a bare-foot church image resolves the faith theme.
Position and posture
The door-kickers and the boss records
Do you Want More?
"Do You Want More?" is the statement of position and the door-kicker that opens the record - the artist's own marker line for it is "I raised the floor." It is the only main-sequence song in G major (with E-minor color moving to D and G), confident trap soul at roughly 85 BPM, arranged with trap piano, organ, flugelhorn, tenor sax, brass, sustained rock guitar and a fading 808. It was also flagged as a candidate album title, since it is a question strong enough to hang the whole project on - with the note to choose opener or title track deliberately rather than by default.
It later ran as a priority link in the release funnel.
This Is Greatness
"This Is Greatness" carries the album thesis. It is triumphant, victorious gospel trap - A major at 88 BPM, one of only four songs with an explicit BPM in the manuscript - with live trumpets, tenor sax, trombone, gospel choir, Hammond B3, grand piano, Rhodes, live bass plus deep 808, cinematic strings and wide vocal stacks. Its spoken intro monologue, which begins "twelve, thirteen years ago... I had a counselor," frames the whole record and was singled out as the moment that should be matched by one more short spoken piece to give the album two breathing points.
It is sequenced second, as the thesis statement right after the door-kicker.
Him
"Him" is the boss anthem - confident, flex-driven, hook-led, with the line "you don't need designer when you him." It is E minor (Em9 - Gmaj7 - Dsus2 - Asus2) at roughly 85 BPM over a trap kit. Earlier tracklist work described its role in the arc as the villain framing - the man who made everyone else's life easy - and placed it at the album's emotional valley. In the final sequencing it was held out of the 17-track main run because its bass-driven flex energy interrupts the acceptance arc, and it was earmarked instead as a strong standalone single or deluxe opener.
Bust The Seals
"Bust The Seals" is the victory-lap record - celebratory, autobiographical come-up energy hung on the line "brand new truck I bust the seals," which ties the record directly to the towing business. It is E minor (Em7 - Em9), uptempo at roughly 88 BPM, hook-driven with a trap kit and ad-libs. Earlier tracklists used it early as the come-up, hustle and survival beat. In the final sequencing it was held back for deluxe because its celebratory tone breaks the survival narrative of Act IV.
It was also excluded from a later singles batch because it was already live on DistroKid.
Wisdom and weight
Passing it down, and the late-night hours
Life Lesson
"Life Lessons" is the instructional record - passing wisdom down. It is described as instructional, hypnotic and spiralling trap soul in E minor (Em9 - Cmaj7 - Em9) at roughly 82 BPM, built on an Em9 loop with a repetitive "life lessons" refrain, and it is the longest stretch in the source manuscript. In the album sequence it sits late in Act IV as the wisdom transfer just before the closing declaration act. It was one of the songs the artist named early as having clear title, lyrics, chords, keys and production notes rather than being a sketch.
Too Many Nights
Shares DNA with "Open" through the "Lust of Love" lineage; both were flagged as the softer counterweight sitting partly outside the Tow Gawd world.
He notes it sits slightly outside the core Tow Gawd world sonically, which left its album membership an open question. It was also among his higher-streaming catalog tracks.
Drive on my bitch
"Drive On My Bitch" is documented as the menacing, possessive street record - standalone energy rather than part of the album's arc, with an aggressive delivery over a standard trap kit in E minor at roughly 82 BPM. Earlier tracklist work used it as a momentum-and-motion cut. It was deliberately held out of the main sequence because its energy clashes with the album arc, and it was flagged as needing a retitle for streaming services regardless of where it lands.
The close
Where the record lands
Immersion
"Immersion" is the closer and the resolution - the point where the record's movement from pressure and questioning arrives at integration and peace. Its outro line, "peace become the flex," was strong enough to be floated as an album title, and the "lawn chair, bourbon and immersion" image was called the mic-drop ending. It is one of only four songs with an explicit BPM in the manuscript (80), moving Em7 - Em9 - F-sharp m7 - C-sharp m9 - Emaj7 with an Em9 outro, built on a left-hand piano motif, filtered 808 pulse, a subtle snare tick, chest harmonies, BGVs and vocal spirals.
In production
Documented, not yet released
Distance
In the artist's own long-form description, "Distance" is a cinematic behavioral study about attention, insecurity, attraction, discipline and male discernment, disguised as a luxury cigar-bar R&B record. The cigar bar is a laboratory where everyone reveals something without realizing it, and the narrator is the control variable - present, social, but already working and already has purpose before the woman arrives. Its center is that just because something gets your attention does not mean it deserves your pursuit; distance is analytical space, because when you rush toward something you lose perspective.
The visual world
He arrives, delivers from the curb and the bar as a detached observer while an overdressed Amara commands the room, they are repeatedly in frame together and never touch, and the quiet corner woman who "rolls solo" is the anti-hero and emotional counterpart he ends up with. Earlier versions ran a dual-trajectory life-cycle story across decades with the theme "don't confuse the presentation with the person"; that multi-era structure was retired.
Hard rules: cinematic and polished rather than low-budget, no captions or onscreen text, no charts or "market value" graphics, nobody humiliated, no moralizing.
Why it's built this way
The method has rules. Eight of them, and a short catechism at the bottom.