‘WANTED’ IS MORE A TOOL, THAN AN ALBUM

After a long ‘hayetus’ hiatus as rightly stated by Falz on a skit – the follow up of the first album is what so many of his fans craved. While he had their empathy, they never cease to ask for his sophomore album, even though he constantly released singles. Wande Coal at his album release conference, said “everywhere I went to even though I dropped single ‘everyday’ people were just saying where are you? we need your album. That’s what the album is titled wanted… because the singles were not enough“. Without a doubt, his first project left that impression; for his fans, singles weren’t just enough.’Wanted‘ the track which was adopted as the album’s title was produced by major bangz, Wande is full of confidence, ‘won waa mi nii igboro, dey feel me in the ghetto and overseas‘ his lyrics is fraught with his bravado. Wande was probably not  contented with what major bangz made of this track as the album featured ‘wanted rmx‘ ft burna boy and production this time was done by beats by sarz, who took the beat and added a ragga feel to the song. The album opener is a melodious thanksgiving song, Adura.

The absence of Don Jazzy and the super mavin crew- although not missed, is immediately apparent, and when quizzed about this, he says “8 producers on this album, unfortunately don jazzy is not one of them, I had to start all over again to get new songs with new producers.” Maleek berry is the most prominent producer on the album on basis of number of songs he produced, including ‘we ball‘ of course about how much of a baller he is, ’jelly’ for the belly dancers, ‘weekend‘,  ‘African lady’ lowkey‘ a galala/ragga fusion, ‘my way‘,  ‘kpono‘ ft wizkid which wasn’t as much a worthwhile collab as legendury beatz produced ‘make you mine‘ ft 2face- who by a mile put up the stiffest challenge as the best guest performer.

As much as he enjoys love from his fans, Wande is aware there are still haters; in ‘monster’ he demonstrated how the ‘hate’ don’t bother him. His staunch fans and haters alike will not deny his vocal dexterity in ‘Super woman’, the best RnB track on the album, absolutely! “Casually, super woman I’ll love you casually” while sugar coating super woman in his sweet hummingbird voice, he managed to make ‘casual love’ romantic, ironically.

Still not able to understand why artists feel the compulsion to populate an album with exorbitant amount of songs, excluding 4 skits and 2bounses the album is a 17 tracker; I’ve always felt that the propensity to release junks is directly proportional to the number of tracks released. Though we have songs that  pre-dates the album release; ‘baby hello’ ‘amorawa’ ft burna boy and ‘my way’ both of which featured as bonuses and of course the lead single for the album ‘ashimakpeyin’,  but don’t see why ‘same shit’ ft AKA should be included, it’s not only stale, it ‘lacks’ luster.

Now that the jinx is broken after so much back and forth that made his career seem somewhat bleak, I think with the release he will feel a lot at ease, cos honestly this seems to me as a kinda ‘let me be’  effort that almost comes off edgy.  Maybe now, we can look forward to the growth of BLACK DIAMOND.

NO NEW CLASSICS IN NIGERIAN MUSIC

Only real music is gonna last, all these other bullsh*t is here today and gone tomorrow– Drake

I was tuned-in to a show on rhythm 93.7, when the OAP Rezy narrated how he  encountered an album, on his way to work and buying it off the hawker instinctively-without prior plans. The album was Wande Cole’s Mushin2Mo’Hits. Previously that week, I had bought the same album in a similar narrative.

There and then, I had this rather sad epiphany; the industry has grown lean on classic albums. I mean the kind of record you pull-out the shelves  ~10yrs after, dust the cd, bump it and re-live moments when the album  was hot way back when.

So what exactly is a classic?
A classic is an outstanding example of a particular style, something of lasting worth or with a timeless quality. A work of art that’ll persevere generation-after-generation, such that generations (unborn) can draw creative inspiration from.

Thinking of it, I find that there are only a handful of albums I can buy more than once, like Face2Face; Talk About It by MI (mentioning M2M again is redundant I guess); all Fela’s albums (maybe I’m a little biased here); CEO by Dagrin; everything in the afro-pop/afro-beat genre.

Wait a minute, isn’t classic defined by time?

By definition it might be too soon to tell if there really are no new classic albums out there anymore. However, there have been instances when albums were instantly certified as classic. Aside time however, there are indicators that hints at sustainability. Aside from time, there are indicators that hints at sustainability. Unique stories behind some works, like the untimely death of Da’Grin propelled the popularity of a well written, previously-unheard delivery of a street-hop album.

Most of the aforementioned albums were critically acclaimed and certified classics when they were released because of the level of creativity reached by their respective authors.
I don’t think Nigeria is short of talented young people, rather it seems to me that laziness has been more rewarding of late. An artist needs only to drop 2 hot singles, and by hot I mean club banger,  and boom! the millions starts raining in via endorsement deals. Who needs an album when just 2 singles can fetch you 11 million naira worth endorsement, right?

Another factor critically limiting album creation, I believe, is the dismal revenue record companies generate from record sales. This coupled with the fact that there are only a handful record companies out there, so most artists are just winging it.