Tag Archives: #olamide

5 THINGS WE LEARNT FROM ILLEGAL MUSIC 3-THE FINALE

Unless you’re living under a rock, chances are you’ve heard all the buzz following MI the ‘young denzel’ who created loaded conversations on the internet via his twitter account as per the 3rd installment of his mixtape, illegal music 3- the finale.

Aside from obvious growth(no, not in height) in wisdom of the ‘rap god’ here are 5 things I learnt, and I feel MI was trying to communicate;

Use monologues if you want to sound deep;

The use of monologues as bridge has been made popular by the new hip-hop ‘wavvy’ movement. MI rummaged  youtube enough to get a hold of not so popular interviews of greats, from Mike Tyson to Jayz’s interview with Angie Martinez. Many rappers, including  his own brother Jesse Jagz(in Louis, using rants from the movie ‘Network’); Wale(with Jerry Seinfield, in album about nothing) and recently Anderson .Paak have included these kind of monologues in their works to give it a much more deep, more personal feeling to drive home their  thesis. ‘All fall down‘ the track featuring POE is both introspective and motivating- for anybody afraid to fail while reaching for greatness. In there, you can hear Mike Tyson talk about how he has experienced high level of success and great disappointment. And MI closes with an enigmatic statement “gravity is not a superstition”.

Sampling is still the heart of Illegal Music;

If you’re familiar with the previous mixtapes from this collection, you’ll recall how so many instrumentals were sampled ingenuously. This one is not different in that regard. He sampled beats from Jayz a lot, Beyonce’s ‘formation’ for his track ‘black bill gates‘ and YEezy’s ‘never let me down’. He also re visited the popular list published by Notjust ok in ‘Notjust ok/savage’ (in a corny sponsored ad fashion) which he did in a cover version of burna’s ‘Soke’.

Listen to the IM3

He want’s to be compared to HOVA;

Well he hasn’t taken a pop star wife like JayZ (Yemi Alade is single though); he hasn’t till date  up to 11 platinum albums(although this mixtape was downloaded 200k times on the first day of release) neither does he own a music streaming platform(read: TIDAL). He however made it clear in the song ‘head of the family‘ where he sampled instrumental and back-up vocals from Jay’s ‘La Familiar’,  that like Jay is to ROC nation , he is the head of the choc city family; he has made a star out of Ice Prince, Victoria Kimani and a host of others, plus he knows his business.

MI doesn’t want to be boxed in ‘indigenous rappers’; 

On a leveled playing field, MI is better lyrically compared to many acclaimed international rap stars. The limiting factor is the seeming glass ceiling that prevents him from getting Grammy nod. He wants to level the playing field, before now, its be known that he has shunned the industry standard. As he rhymed in ‘Numbers’ to not ‘compare him to these artists, they giving you cheap garbage’, plus no one even comes close if you judge him by ‘these’ garbage.

In the end good music still sells, regardless of the genre;

Contrary to many Nigerians beliefs- notable among them is the famous 2014 tweet from don jazzy that purports, if you’re a Hip-Hop act in Nigeria, your parents can’t be proud. MI has refuted that claim and has yet created a viable business for himself and his team using literally, a mic and a beat box, ‘hip-hop is as viable as pop I made them say’ he rhymes in ‘remember me‘. The key he explains in the track ‘the finale’  is very good content. In the popular Martin Luther’s speech-which he inserted in the song- set out to be the best of at what you do. And for this, people would remember him.

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Woss-Wobi! Now That Everyone Is Looking

His ad-lib goes with a hiss followed by WosS-Wobi in quick succession- calling out to a person/various people intensely. Not a courteous way, but it catches your attention- he’s not selling himself as a refined man. A Lagos Uni grad, who, I previously (from the chart topping Indomie with Olamide)  felt has a style that is very energetic and refreshing but doubt will keep people entertained for too long. One single after the other and scoring various features with Dj Xclusive, the new kid is now straight balling. 

The new track ‘nowo e soke‘ (raise your hands) featuring wizkid is now an anthem in many night clubs’ dance floor.  Wizkid knew he had to do a better street jam as davido ft Olamide ‘Money’,  so he jumped at the offer to feature on the track with CDQ.

He has a preferred producer. I mean, sunny nweke/masterkraft is a ubiquitous part of his verses.  And together they’re affirming that the streets has really taken over.

 

EYANMAYWEATHER-AN ALBUM THAT TELLS TIME AND NOTHING MORE

I guess all those people that know him on a personal level weren’t just dick-ridding when they say Olamide is the hardest working man in Afro-Pop, at least the frequency of his album suggests that.  A 5th studio album, means 5 in 5 years, if you haven’t figured out the average by now, it’s once every year. Devastating!

EyanmayWeather, a person of Mayweather’s persona- the boxing champ, the unrepentant braggart. Intended or not, the title suggests a rhetoric pun-stylized on the album cover as EYAN-MAYWE-ATHER. Blocking out the letters in bold, EYANATHER presents another phrase in Yoruba Eyan-naa-da, ‘where’s that person’, begging any rapper to challenge his claim to the ‘throne’, asking such rapper to shut down a couple of arenas in different countries before coming at him. He reiterates this in Where the man, as he alternates between British accented patois ‘I shut down Island shut down mainland’ and his typical yoru-english rap.

Fans who prefer Olamide the rapper and criticize him for singing more than he raps lately, may be pacified by rap tracks like; Igara chicken, an euphemism for arrogance and the Pheelz produced Jega, peppered with the trademark Dre piano percussion as Olamide delivered laid back rap verses, inducing a calm demeanor typical of the immediate past electoral chairman.

He resumed bragging some more in Ball. Boom boom boom is a weak a** song, immature sounds with high school lyrics, my guess is, Kesh did some ghost writing. Kana final, be happy are at best  mixtape materials and OG waheedee sounded like he was doing freestyle on a hip hop radio show.

Pheelz the Mr producer had a lot influence on this album, producing all but 5 of the total 21 songs- he’s the in house producer.  He did a terrific job creating an afro-pop-fuji fusion in don’t stop, and when Olamide sings ‘shake it-baby don’t break it—it took your mama 9months to make it’ he creates a sort of, how do I put it, ‘owambe persuasion’.  Arara and I’m ok he basically preached hedonism and encourages people to see the beauty in life, in music. He admonishes in Inferiority complex to face your fears, to ‘gbe na woju oloro’, classic afrobeat.

Olamide reminisces on his humble background, and praises his mother for being strong and supportive in Mama Mi. We get that Olamide loves his child, I don’t think he needed to dedicate a whole track Toriomo to eulogize, I mean he can totally do what he wants, but selling that in an album?

He teams up with his erstwhile producer, ID Cabassa in sold out, an Igbo highlife beat that you could already imagine how cooler it’ll sound with Don Jazzy in it, too bad Olamide is in his Mayweather swag on the album, solo. Say something is another pointless song, he probably got confused halfway and decided to make a gyration for the Super Eagles.

I suppose I don’t have to like all his work, but I appreciate the hustle. However, I think maybe he would have done exponentially better if he afforded himself a bit more time, weed out some unnecessary tracks or improved on them.

I have a calendar hanging on the wall of my room, I need his albums to entertain and provoke me not signal the end of the last quarter every year.

LOCAL RAPPERS THROWING BARS IN TRASH CANS AMONG OTHER THINGS

I couldn’t agree more with the article- paradigm shift by No BS as per rap scene in the industry of ours (jesse jags thinks we delude ourselves to ever call what we have an industry) disagree?  feel free-that’s a discuss for another day. As for the shift, it’s clear to see that the consumers have woken up to the content they really wanted, the unprecedented followership of Nigerian music alone is enough indicator of who’s king in the game (not king as in King James or King Kong) I mean king as per who’s winning-as reminisce rightly said in his recent single, local rappers; awon fans ti  jara won, won ti bo pampers, a track that featured Olamide another Yoruba spitting ‘rapper’ and then there’s the ingenuity of phyno, yes its hard already to speak Igbo as a language, but doing 16bars in just plain Ibo(well some English words are always embedded, not avoidable if you understand that some words don’t have Igbo translation like Lice, I mean rice) I must add here that though Olamide sometimes have his stellar moments it’s not the case this time around. But he doesn’t have to cry on this account cos even the author of the track himself wasn’t at his best, very weak flows when you compare to a similar track in his Alaga Ibile album- Government which also featured Olamide.

BREAKING NEWS- the Video for Eau De Vile-Dance Go has just dropped while I wrote this piece. Madam Adetiba did yet another wonderful montage. I was expecting a normal dance club video with a lot of nudity, but was pleasantly surprised by the story based and dramatic rendering of wizzy and 2face with a sleeping beauty that got woken by a single drop the masterfully blended cognac. Oh! the power of Hennie

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ICE PRINCE CANT RAP

Back to the discussion at hand, yes! The paradigm shift. There would be no shift if there never was a status quo. The rappers mentioned in the article including Eedris Abdlkareem, Mode 9 etc provided a launch pad for all these new generation rappers and the new gen rappers in turn are obliged to forever pay homage to these ‘intelligentsia’.  What however makes me loose it, is the fact that these veterans be telling the new gen they aren’t doing hip hop right (please reserve this advice for Ice prince zamani), speaking of which, I read somewhere MI had something to say as per NoBs’ take on his bro’s mixtape the trash can. Well Mr Abaga, let’s call a spade a spade, or more suitable in this case, let’s call a dustbin a garbage bin or ‘ile le’ as Yorubas say, because calling that mixtape a ‘trash can’ is derogatory to ‘trash cans’ hope I haven’t lost you? Alright then enough of the ‘trashy’ banta. A twip twitted that Don Jazzy has proved my article wrong- ‘Don Jazzy and his huge mavin gamble’ saying that he has started reaping the benefits of his newly signed artists. Collectively, well I won’t argue that the don is winning, and I never said he couldn’t pull it off, I just pointed out to him that it would be arduous. Ok yes, they have hits dorobucci and ada obi, but individually, you can hardly call di’ja or korede bello or banks successful solo artists, yet. This my friend, was the point I tried to drive home with that article.^ See you later guys, till I write again. Meanwhile you could follow me on twitter @shiznnitz if you care to read my ramblings on the inexistent industry as Jesse Jags pointed out.

Review- Olamide “Street OT”

Since inception of Olamide as we know him (Rapsodi-2011) he had made it clear he was going hard, how he has managed to retain such appetite for hustle till this day even as an established act, defies logic. Four albums in as many years he’s been active-1 for every year, not a bad average.

I would have suggested a different nomenclature for the album; Hustle OT, of course ‘street’ and ‘hustle’ is often interchangeable-on the street, but then the street is more encompassing and consistent with the lyrical content of the album. Street OT –orientation is a compilation that would minister to you and if you connect properly invoke in you the spirit of hustle. Here is a critical evaluation of the album, StreetOT-Nov2014.

Up in the club  is not a bad attempt at dirty south crunk hip-hop, but of course with mounds sleaziness in Yoruba language. Viktoh’s verse wasn’t impressive, Olamide’s narrative or sort of a narrative on Ejiro was hilarious. Very club oriented, you might find yourself cranking that souljabouy dance before too long.

Alaaru thus a Yoruba adage goes. He used the beat sample from black skinhead, the track which is also the sound track of the current Guiness’ Made of Black campaign that he (Olamide) is part of. He’s not ready to be suicidal, shay mo jo sulu gambari referencing the boko haram suicide bombers. He hasn’t built his father a mansion, plus he doesn’t own a Bugatti yet, so what’s the rush?

Batifeori took this one to church. Amidst all the hustle, olamide had time to take inventory of God’s favor, to see how far he’s come, felt he owed Him one number.

Blood money The chorus is just an 8x loop of the title, in a patois accented voice that I find quite artistic. Olamide delivered massive punch-lines from the blast of the whistle. His pun on Yoruba/English homophones farawe (imitate) and far-away, can but only impress you unless you’re a Bia-TCH, his aphorism to sign off the first verse.

Eni Sun Y’all won’t sleep. It’s definitely personal for him this time, in his anger he unleashes his wrath (in words) on an un-identified person. Honestly he exerted himself a great deal on this song, its pointless.

Falila Ketan. Falilah is an Islamic name predominant among girls south-west Nigeria, ‘ketan’ means the girl is bow-legged. The chorus is quiet vulgar in a coded kind of way. The verses are however incongruous. Not one of the high scorers on the album, although you can find solace in the comical vulgarity of the lyrics.

Hood Rap Olamide hits major point on score sheets of rap faithfuls with this song that’s aptly titled. Hood rap is a dark journey deep into the conscience of a survivor in a ‘eat or be preyed on’ world, but he’s conscious ‘no more snakes in my circle, I only roll with kiniun(Lion)’. His witty word play with fo (fly)-foe when he said ‘won form superman, but iyawon can’t fo(foe), I mean they can’t fly’ is a reminder of how devastating Olamide can be when he actually raps.

Prayer For My Client Here in, he flexes his hustle muscle once again, going by his bridge ‘if it’s not about money, then it’s not making sense’ get the feeling the home boy isn’t playing intern-3million for a show in Ibadan is agreeable than 500k in UK, keep the int’l recognition, I’ll take the money. A lot of hustlers would relate to the song and may yet become an anthem amongst internet ‘gangstas’. He reiterates he still won’t rap in English, no faking.

Real MVP Alujo we call it, it might come across to you as a dance track, which is basically the same thing more or less, alujo-a Fuji dance song and produced by young John a guy Olamide no doubt has tremendous confidence in, as he commits the major chunk of the album’s production to him. Real MVP is a toast to the good life. Groovy!

Ya wa He uses the Yoruba homophone Ya wa which could be translated as ‘separate us’ or ‘picture us’. They won’t separate (ya wa) him from his lover, even if they do (ya wa), it’ll be a photo. He shows his romantic tendencies with sweet rhymes. The wedding number on the album.

Zero JoyBoys aren’t playing out here, me want to buy benz and bema’ further resonates the manner of hustler he is, MI attests to this recently when he said Olamide is the hardest working artist he knows. Zero Joy as the title goes, is an un-smiling raw street rap song, which pitches Olamide against the player haters. He refutes a popular adage in Yoruba-he’s simply saying “fuck you and your time difference” to all those that feel he’s still young in the game. He wants to be mentioned alongside the greatest, Fela, Femi Kuti, Lucky Dube, 2pac and biggie. Yeah I know he goofed right? Or Chutzpah!

Possible ft B.Banks Olamide administers motivational lyrics to all who are trying to make a way and be something-anything is possible. I especially like B.Banks performance, that deep rich voice delivering a verse that might as well have been a Yoruba poem. It’s refreshing and soothing to my ears.

Bang ft Chinko This is an instance where people of the opinion that Olamide’s trying too hard might have a point. Yet another dirty south theme rap song, Chinko’s verse is perhaps the highest point of the song. Kesh stood in for Olamide, but for the voice pitch, you couldn’t tell the difference-they’re similar like that. Olamide merely delivered the chorus.

 

Skelembe All my expectations and high hopes was cruelly quelled when I heard this song produced by Don Jazzy, a song I had been looking forward to. He’s and Don’s collective effort isn’t what I expected by a mile. So disappointed, moving on.

Usain Bolt ft Lil kesh A laid back song you can bump your head to in your car maybe. The RnB beat calms the often rapid raging vocals from Olamide, although he is on some Usain Bolt P, he’s so fast and ahead of the game no one can touch him. Lil kesh’s performance once again begs the question, what’s next after shoki, shoki female version? Oh he done did it.

Oga Nla ft Pasuma Oga Nla which means biggest boss or a 5 star general, if we go by the speech delivered by the mock general at the opening of the song. Oga Nla is the street title bestowed on the silver tooted fuji artist Pasuma by fans. He did the chorus singing “won ni mo leru ku, mo ni disciples, Oga Nla” he sure does have goons and disciples.

In my circle ft Phyno Never change the winning formula. Yet again a well-played out Yoruba-Ibo rap. The ‘infamous’ collaborating duo Olamide/Phyno laid out rap verses on instrumentals sample from Drake’s the Motto.

Hustle Loyalty Definitely a high point on the album, the collaboration of the 2 most prolific Yoruba rappers. Reminisce, Olamide, form the Ibile united movement, and the winning; money, street credibility and popularity, it’s a take-over. Reminisce’s closing verse was the icing on the cake, linking a word to the next without a pausing to take a breath, breath taking. The chorus is surprisingly straight clean English.

Story for the gods and Goons mi were the promotional singles for the album, both already successful songs especially Goons mi. Such a shame Viktor and Kesh never fully exploited this album as an avenue to propagate their careers as having creative distinctions from Olamide’s.

Olamide further explores and expands on the use of his language to create rhymes with such audacity that only foster believe he is perhaps the best indigenous rapper Africa has to offer. The album is an 8 for me.

Nomination List: Headies 2014.

The-Headies

While you’ll have to wait to cast votes for your favorite Afro-Pop stars, Hip-Hop world have in mean time released the nomination list of this year’s annual music awards, THE HEADIES.

Take a good look at the list below:

THE HEADIES 2014 – NOMINEES LIST
(YEAR IN REVIEW: JULY 2013 – JUNE 2014)

1. BEST RECORDING OF THE YEAR
A non-voting category for the best single recording by an artiste or group in year under review.
IYAWO MI- TIMI DAKOLO
LET SOMEBODY LOVE YOU- 2FACE IDIBIA
ALWAYS ON MY MIND – NOSA
ORDINARY PEOPLE – COHBAMS ASUQUO

2. PRODUCER OF THE YEAR
An individual responsible for producing the most acclaimed song or album in the year under review.
DON JAZZY – DOROBUCCI
PHEELZ – ELEDA MI O
T SPIZE – AYE
LEGENDURY BEATZ – CARO
SHIZZY – SKELEWU
DEL B – PULL OVER

3. BEST MUSIC VIDEO
A voting category for the best conceptualist, best directed and most exciting video in the year under review. This award goes to the video director.
ADA ADA BY FLAVOUR – CLARENCE PETERS
TOH BAD BY NIYOLA – KEMI ADETIBA
JUST LIKE THAT BY RAYCE – AJE
OYA NOW BY JOE EL FT. ORITSE FEMI – UNLIMITED LA
PERSONALLY BY P-SQUARE – JUDE “ENGEES” OKOYE & CLARENCE PETERS

4. BEST R&B/POP ALBUM
A category for the best R&B/Pop Album in the year under review (by single individual or group).
THE JOURNEY – SEAN TIZZLE
TAKEOVER – KCEE
ONCE UPON A TIME – TIW SAVAGE
ME, MY MOUTH & EYE – SOUND SULTAN
L.I.F.E – BURNA BOY

5. BEST R&B SINGLE
A category for the best R&B single in year under review (by single individual or group).
LET SOMEBODY LOVE YOU- 2FACE IDIBIA
IYAWO MI- TIMI DAKOLO
PLAN B – WANDE COAL
DON GORDON – BURNA BOY

6. BEST POP SINGLE
A category for the best pop single in year under review (by single individual or group)
DOROBUCCI – MAVIN CREW
AYE – DAVIDO
JOHNNY – YEMI ALADE
PULL OVER – KCEE
DOUBLE WAHALA – ORITSE FEMI
CARO – STAR BOY FEATURING WIZKID AND L.A.X
SURULERE – DR. SID

7. BEST REGGAE/DANCEHALL SINGLE
A category for the best Reggae/Dancehall single in year under review (by single individual or group).
GIRLIE O REMIX – PATORANKING
LEAD ME ON – CYNTHIA MORGAN
STINKING SH#T – CHOPSTIX FEATURING ICE PRINCE, YUNG L AND ENDIA.
ONLY YOU – JESSE JAGZ FT. WIZKID
MURDA – SEYI SHAY FT. PATORANKING & SHAYDEE

8. BEST RAP ALBUM
A Non-Voting Category for the Best Album By A Rap Artiste Or Group In Year Under Review.
NO GUTS NO GLORY – PHYNO
ALAGA IBILE- REMINISCE
BADDEST GUY EVER LIVETH – OLAMIDE
THY NATION COME – JESSE JAGZ

9. BEST COLLABO
A voting category for the best R&B, Pop or Hip-hop collaborative track (including cameos).
OYA NOW – JOE EL FT. ORITSE FEMI
EMERGENCY – WIZZY PRO FEATURING SKALES, PATORANKING AND RUNTOWN
SURULERE – DR. SID & DON JAZZY
PASS YOU BY – BLACK MAGIC FT. ORITSE FEMI
GIRLIE O REMIX – PATORANKING
DOROBUCCI – MAVINS

10. BEST RAP SINGLE
A voting category for a single (released on-air) recording of a rap song.
PARCEL- PHYNO
DOPE MONEY – OLAMIDE FT. PHYNO
SHOTZ ON SHOTS – ICE PRINCE FT. SARKODIE
RAP IT UP – POSLY TD
DEAF – EVA ALORDIAH
WTF – ILL BLISS

11. BEST VOCAL PERFORMANCE (MALE)
A non-voting category for the single male artiste with the most outstanding vocal performance on a single song or album.
IYAWO MI – TIMI DAKOLO
DOUBLE WAHALA – ORITSE FEMI
WHY YOU LOVE ME – NOSA
ORDINARY PEOPLE – COHBAMS

12. BEST VOCAL PERFORMANCE (FEMALE)
A non-voting category for the single female artiste with most outstanding vocal performances on a single song or album.

LOVE TO LOVE YOU – NIYOLA FT. BANKYW
WANTED – TIWA SAVAGE
WINDOW – MONICA OGAH
GOOD MAN – RUBY

13. NEXT RATED
This category is a voting category for the most promising upcoming officially unreleased (or signed) act in the year under review.
PATORANKING
RUNTOWN
OREZI
SKALES
YEMI ALADE

14. HIP HOP WORLD REVELATION
A voting category for the best new artiste in the year under review.
TIWA SAVAGE – ONCE UPON A TIME
SEAN TIZZLE – THE JOURNEY
BURNA BOY – L.I.F.E
KCEE – TAKE OVER

15. LYRICIST ON THE ROLL
A non-voting category for the Rap Artiste with the best lyrical depth and performance on a single song or album.
SHOTS ON SHOTS – ICE PRINCE
RAP IT UP – POSLY TD
GOD ON THE MIC – JESSE JAGZ
KPANSH – YUNG 6IX

16. BEST STREET-HOP ARTISTE
A voting category for the artiste whose songs are inspired by the streets. Such song should captain lingua, which may also be originated by the artiste and popular on the street.
DOUBLE WAHALA – ORITSE FEMI
SHOKI – LIL’ KESH FT. OLAMIDE & DAVIDO
DOROBUCCI – MAVIN
ALOBAM – PHYNO

17. BEST ‘ALTERNATIVE’ SONG
A voting category for the artiste whose songs reflect any form or style of music which falls outside the mainstream of recent or past popular musical trends.
BOLAJI – BOJ
BODY- BLACK MAGIC FEATURING BANKY W
GOOD MAN – RUBY
WHY YOU LOVE YOU – NOSA

18. ALBUM OF THE YEAR
A voting category for the best album (solo or group) in year under review, that meets judges requirements of excellence (in every realm: Songwriting, production, rendition and promotion) and acceptability (Sales and popularity).
THE JOURNEY – SEAN TIZZLE
L.I.F.E – BURNA BOY
BADDEST GUY EVER LIVETH – OAMIDE
NO GUTS NO GLORY – PHYNO

19. ARTISTE OF THE YEAR
Most critically and commercially adjudged artiste in the year under review. Overall most successful artiste for the year under review.
DAVIDO
WIZKID
KCEE
TIWA SAVAGE
OLAMIDE
PHYNO
FLAVOUR

20. SONG OF THE YEAR
A voting category for the most popular song in the year under review. This category is usually decided by voting.
AYE – DAVIDO
PULL OVER – KCEE
DOUBLE WAHALA – ORITSEFEMI
SURULERE – DR. SID
DOROBUCCI – MAVINS
JOHNNY – YEMI ALADE

21. BEST AFRICAN ARTISTE
A non-Nigerian award category for an individual African artiste with the most outstanding single/album and astonishing achievements and infiltration into Nigeria in year under review.
MAFIKIZOLO
SARKODIE
DIAMONDZ
R2BEES

22. HALL OF FAME
Special recognition for excellence and outstanding impact to the entertainment industry.
SIR (DR.) VICTOR UWAIFO