The crackle of urgency in DZOL’s voice feels like a throwback to a time when hip-hop wasn’t just a genre—it was a survival guide. His latest single, Go Out And Get It, released under We Rollin’ Records in late 2023, isn’t merely a track – it’s a clenched fist pounding against the glass ceiling of circumstance. Clocking in at 3 minutes and 26 seconds, the song has bulldozed its way to number three on the DJ Digital Chart, trading blows with titans like Drake and Cardi B. But beneath its trap-inflected beats lies something deeper – a narrative of defiance that could’ve slipped straight off a 1994 mixtape, back when hunger mattered more than hashtags.
DZOL, a Baltimore native who cut his teeth under the previous moniker Pimp DZOL, has always carried the weight of his city in his bars. His early work—Turnt Up, Own That—leaned into the bombastic club energy of the 2010s, earning him slots opening for Migos and Ja Rule. But Go Out And Get It strips away the bravado, leaving a raw nerve exposed. Produced by Sam Peezy, the Grammy-nominated architect behind tracks for Beyoncé and Ed Sheeran, the song marries Atlanta’s slick sonic alchemy with DZOL’s unvarnished authenticity. Peezy’s production is all tension: 808s, synths that coil like barbed wire, and a tempo that mirrors the restless pulse of someone chasing daylight.
DZOL’s baritone, gravelly and unapologetic, rolls like a freight train through the track. He doesn’t rap, he testifies. Lines about tenacity and street-tempered resolve are delivered with the urgency of a man who’s stared down dead ends and built ladders from the wreckage. The message is clear: success isn’t handed out—it’s pried from life’s grip.
DZOL’s evolution from Pimp Dzol to his current iteration feels deliberate. In a sit-down with Dirty South Radio, he shed the flashier persona, framing himself as a “no-nonsense family man” rooted in community. This isn’t posturing. Tracks like Go Out And Get It channel the spirit of Tupac’s street-corner poetics, where every verse doubles as a lesson.
The track’s rise feels refreshingly old-school. Without major-label machinery, its chart climb has been fueled by organic growth, amassing over 196,000 Spotify followers and DJ support that’s kept it floating in the Top 5 since August 2024. It’s a testament to DZOL’s grassroots hustle—a quality baked into his backstory. Discovered by We Rollin’ Records founder Sharon Ford in 2004 while working at a Maryland manufacturing company, DZOL’s path has been anything but linear. From early demos with Jeezy to sessions with platinum producers like Don Vito, his grind mirrors the song’s thesis: nothing’s given.
Go Out And Get It is a mirror held up to a generation weaned on struggle. The production’s darker edges evoke the chaos of inner-city life, while DZOL’s flow anchors it in resolve. There’s no Auto-Tune here, no algorithmic sugarcoating. Just a mic, a beat, and the kind of lyrical grit that made it so appealing.
DZOL’s ambitions stretch beyond the booth. He talks of sold-out hometown shows at Baltimore Arena and a yet-untitled EP produced by CSP’s Christopher Starr (whose resume includes Prince and Mariah Carey). But more crucially, he frames his music as a “calling”—a tool to uplift. “Artists have a responsibility to motivate,” he insists. It’s an ethos that echoes rap’s golden age when MCs were equal parts entertainers and elders.
Go Out And Get It is a lifeline. It’s not polite. But like the best anthems, it’s real enough to leave a mark. DZOL may not be shouting from billboards yet, but his message is clear: the throne isn’t inherited—it’s taken. And he’s just getting started.
Go Out And Get It is available on all major platforms.
https://open.spotify.com/track/1ZqiA6wk0zUq5njtYInkVM
https://music.apple.com/us/album/go-out-and-get-it-single/1724720851
