INTRO

Good studio drama. No point going further.

STAY(HEY YO) FT. NAETO C.

Now, I am listening to this track and I must say this song is capable of growing on you. Simple but apt vocal harmonies are employed. Beautiful. It starts with this interesting use of synthesizers, simple, and beautiful, still. Smooth R n b. Simple and confident singing from Dare; no attempts at doing anything extraordinary… and that may be exactly what makes it such a good song to listen to. That may be why it’s not a fantastic, spectacular or extraordinary song too. I don’t think any of these was intended for the song. There is no sign of such intentions to make the song fantastic. I guess, ordinary is not bad; after all, a good ordinary is always better than a poor extraordinary. Naeto C did well. Good production… and that part that comes before the chorus – bridge? It’s good. This is a good ordinary song that seems to take us a little back in time.

NOT THE GIRL

Of course, this is a good song but it is not without some characteristics I would simply refer to as unfortunate. I love the story. The piano performance is good but was the pianist distracted or just bored? We could do with a lot more dynamics and expression on the piano in a song that is just basically piano and voice. If Cobhams played that piano I am quite sure he could have done much better in terms of expression but I guess good pianists cannot but express their mood in performance. I must add too that there are many types of pianos in the world of music production; the choice of piano in this song is not the most suitable for a voice texture such as Dare’s but I could have settled for what was used if I didn’t know better. The piano, in my opinion utterly fails to carry the voice. Also, the choice makes the piano sound slightly distorted on some playback systems.

The singing is generally good and that’s just what it is but like I earlier said, good and ordinary is not necessarily bad, especially if that is what is intended. I could have said that was what was intended but for the attempts at climax – a perfect example of poor extraordinary. A failure! I wished the attempts at the climax(es) were successful. Ordinarily, songs climax once but here we have two major attempts at climax and they were awful. The orchestra drama attempted by Cobhams failed to rescue the situation and the singing at those points was simply terribly poor. That said I must admit that the minor attempt at climax at the bridge was good, a simpler and well executed climax and that the anticlimax at all points were good too. The mixing of the song is not so good, could have much better. Maybe we should blame the mastering but I suspect a lot of equalization was done to cover up bad micing or take down but like I said at the beginning – it is a good song.

NO STARS

Now, that’s a piano with expression; and some singing with expression too – a good entry. The song equally progresses fine too, a total agreement between the song, the singing and the accompaniment – a good blend indeed. I love the backup in the chorus – simply beautiful. I think Dare can really manage a simple climax and anticlimax. This is nice.

MORE

This is another good song, good performance and good production. I don’t fully agree with so much auto tune on this song, though. I guess it’s the norm now; we might as well go with the flow. Ok, now I think that auto tune adlib or something is a little silly.

STYLE

I don’t know what 9ice was really doing on that song – telling and showing Dare what it means to have style? I think that’s not nice. I however agree that if we are patient Dare will bring home Grammies but he’s got to have a style first. Ability to jump from style to style is not a style; rather, it suggests the lack of it. I maintain that this is definitely faulty reasoning… Please can someone stop that saxophonist?!!! That is some horrible tone for the alto saxophone. All the choices made in producing this song are good but for this saxophone choice; the attempt to cover up the poor tone with production gimmicks did not help and it only shows they knew it was poor but decided to cover it up and leave it! Oh my God!! Wrong decision – We can see through. Dear saxophonist, using a slightly harder reed would have saved the day. However, the note selection is not so bad.

SE TI GBO FT. 2FACE, NAETO C

I honestly like this groove – Properly executed, simple and listenable. It might be a good idea if dear Dare stuck to something like this, just a little more pumping and consistency on this could be the magic he’s looking for. A little more swagger please!!! I think the real Dare is somewhere around this track and People could really grow to identify with this – on a classy level (I think he’s looking for that). Of course, the features did well.

CARRY GO FT. 2FACE, NAETO C

The chord progression on this beat did the trick! It’s simply beautiful and it was used well. However, I never really appreciate digital acoustic guitars but I guess no crucifixion for that. A live acoustic is quite difficult to record properly so it’s better to play safe, I agree, but a live acoustic would have added life, no doubt. Is Dare going falsetto here? It’s certainly not convincing enough for a professional singer of Dare’s status. The vocal harmony on this song is not bad at all.

2face did justice, no doubt. Maybe 2face thought falsetto wouldn’t be a good idea so he struggled with the high pitch – and quite well too. Dangerous idea but he survived. Dare took no chances with such mountains, his voice range wouldn’t allow – good decision too but simply avoiding high pitches might have been a better decision all together.

LET YOU KNOW FT. PHEEL

There is some rather good digital acoustic guitar here. Nice. All this pidgin English is definitely not taking this song to the grass root and neither is it giving it that NAIJA character. It’s a nice and soft song. The way the backups were mixed is rather smooth, quite appropriate. I like this song but for some reason, it can easily pass unnoticed. I wished there was something deliberately placed in it to force the listener to pay attention to the track.

WITH THIS WOMAN

I am beginning to think Dare might be better at delivering backups than leads. I love the backup on this song. It’s simply smoothly rendered. The lack of authority I often perceive from Dare’s singing appears to be turning out as a plus on the backups here. I simply love it but I can’t say this lack is a plus for the lead on this song too. It isn’t. The accompaniment is on point once again but I think there’s a need to appreciate that this a rather restless generation of youths – if you are slowing it down you are dulling it, boring it. Cerebral groove as disseminated by this track is really not the best for this age. Excitement is a word to put in mind – not cerebral tingling, there’s a huge difference.

NO (SHE SAD)

I understand that a reggae drum roll can be difficult within the digital environment but this introductory roll is just lame! Plain lame!!!

What is it with this auto tune anyway? Auto tune is particularly good for covering up not too good singing. I am beginning to get suspicious.

We need some heat on this album. Damn it! I am seriously beginning to get bored. I take consolation in the fact that this is a good reggae groove but then another terrible roll.

Why?!!! Is this child’s play or what? – The adlib. Get serious and use a life instrument please. It’s really not that difficult. I understand that the auto tune made the voice sound like an instrument, vocal synthesizer or something of the sort but really, seriously….please.

THINKING

I am thinking – that Dare is not facing the reality of the times and his immediate environment – that’s assuming he is thinking about the world stage, the international scene. The best thing about this album is the fact that Dare choose a producer who truly knows how make music, he probably can make almost anything sound nice, listenable.

KEEP YOU HEAD UP

Ok, I guess this is where we go playful and the recessional and thanksgiving song comes up. Another producer magic I must say. It makes another song truly listenable. With some energy and passion, this could have been a really fantastic song.

CLOSING REMARKS

This album demonstrates a lot of effort at making listenable music and I think considerable success was achieved there. Had the focus been on making an album with passion, considerable success might have been made in that respect too. That certainly would have made this the album we so badly wanted to have from Dare, and of course – some definite sense of direction and character too, please.

I must confess that I know next to nothing about J. Martins and so my opinions of him are strictly what I can muster from his music. There is no real background history, nor expectations for me to measure him against. Apart from his hit single Good or Bad, he is practically an unknown entity to me. Maybe I missed it all but I’ve heard damn near nothing about him on radio, tv and the web. It’s almost like he is some kind of ghost entity. I managed to find one interview he did pretty recently where he claims his album sold 3 million copies and also drops this gem: “…when you make a great beat, you know. Like one of my friends, Peter of  P-Square will say : If you’ve got the beat right, the next thing is the lyrics. And once you’ve got a good hook, you’ve got it all.” Hmm very confident words and something I believe is true most of the time. That said, lets get cracking!

Good Or Bad (Oway) ft. Timaya
This song consistently put a smile on my face every time I heard it in a club (which is damn near every time I’m in one). I consider it a good song not because of any insightful or “deep” lyrical content nor because it’s very well produced. It’s a good song because its one of those songs that is helping to create a very distinct Nigerian pop sound and it does that effortlessly. Between J. Martins and Timaya, the chemistry is very interesting and I’d really love to hear more from these two cats.

Swagger Dance
Ah He just had to go back to the classic imitation sound (Snap Ya Fingers). But! It’s done in a very interesting way. I honestly just wish our musicians will stop the unbelievable wackness with the “phoneh”. It is not necessary. Keep the “phoneh” for interviews if you must but on your songs I think it has the opposite (and very negative) effect of reducing both your credibility and chances of acceptance outside Nigeria. If J. Martins wants to be a local champion, no problem but I think he wants more. By the way the lyrics don’t exactly rock my world, the beat is a typical dime-a-dozen clone and the hook is at best amusing.

Cool Temper
Sounds so P Square. I never thought I’d say something like that but that’s the best way to describe this song. I think I understand why I’m starting to like J. Martins. This song, obviously influenced by Lagbaja’s Coolu Temper (duh!), provides brief glimpses of the sort of depth and talent he has. The lyrics are the typical cheese but they are delivered well and for what the song is, they work quite well. Except for where he goes something like “if your wife is cheating around sleeping with your friends…” yeah… cool temper? right… There’s a time and place for everything, and I think right about that kind of time is when every man got a license to get gully and whoop that cheating ass trick and your mans…

Stay With Me
This is a very weak attempt at Boys II Men. It’s not painfully bad though. Just not there… Some will love it though but ballads are not J Martins strong point. This is where proper (read: the intended) use of autotune would have worked wonders. Next!

Money Good ft. 9ice & ID Cabasa
A decent collabo. Not ground breaking on any level with a mildly interesting execution of an overused concept.

U Say Ur Love (Remix) ft. P Square
A great remix of P Square’s song. Dare I say its better than the original? It’s better than the original. Pretty sick beat and while J. Martins strong point is not his vocal strength, he definitely understood how to ride the beat. The synergy between his singing and the beat got me thinking he might have been slightly disappointed with P Square’s original use of his beat and decided to show them how it should have been done. I approve

Get The Vibe ft. Wajeh
Wajeh can sing no doubt and girl got a strong voice but I think even she couldn’t pull off that weak Spiderman hook. Could have been great, that hook just dropped it down to decent.

So Fly
R. Kelly meets Young Joc kinda sound. I love the beat and the hook is sick. Yes boss! you sound tech! Respect. The track makes me want to start kicking a freestyle.

Think Twice ft. Busta & Ester
Who’s that rapping like Jim Iyke learned how to? J.Martins? lol Not bad sha. Just don’t do it again lol! Busta got a nice flow but if that was Ester with the adlibs through out she made the track for me. Those little tid bits here and there really lifted this song from run of the mill to decent.

Good Loving
Too much going on. Next!

Am Real ft. Sugar Boy (Bonus Track)
Makes sense as a bonus track. Nuff said.

Swagger Dance Remix ft. Sugar Boy and Spaceman
Well the song got the swagger but unfortunately I don’t think either of these cats featured could bring it. Apart from a few flashes here and there very flat lyrics and unimpressive flows from these MCs.

FINAL WORDS

Get Serious is a good effort from J. Martins which has all the expected goodness from a producer turned performer in addition to all the typical shortcomings; like simply not having the vocal strength fully power the tracks nor dexterity and range necessary to propel the songs far beyond the “above average”.  The production across the album though is a very different story entirely. J. Martins brings his “A” game to the table with solid work across the entire album. I think J. Martins has a lot more to offer Nigeria and Nigerians if this album truly represents his creativity.

I was pleasantly and consistently surprised through out much of this album and found myself cheering him on. The creative harmony evident through out the albums beats and vocals is only possible from someone who truly understands music and it leaves me wanting more. I think he has a bright future ahead of him and I’m hoping he gets signed by Storm Records (according to rumors), I think then he’ll definitely get the media attention and hype that matches his talent and skills.

ALBUM HIGHLIGHTS
Hmm in this case I’ll say skip the bonus tracks (except the instrumentals).

PS: When I started listening to this album, I knew nothing about J Martins. Halfway through I had to make a couple of calls and found out that he was responsible for the beats on most of P Square’s last album. Which also helps explain why I thought he sounded like P Square (its more like P Square sound like him lol!)

I’ve had this album on solid rotation for well over a month now and I’m still trying to wrap my head around why I’m just writing a review. To say I was eagerly anticipating this album is the understatement of the year and boy when I finally tore the wrapper of this gem, I was grinning ear to ear and practically shivering with excitement. Ill Bliss has such an intense focus and drive that it practically oozes out of his music. He is probably the only rapper who could stand toe to toe with elDee on business acumen and passion.

But I kept wondering, will that be adequate? Can he adapt to the new Nigerian hip-hop  scene? Will the album just be another typical “boom-bap” and irrelevant in today’s Nigerian (and truly even on the world hip-hop scene) ode to the old school?

He was (and according to gist has returned fully to being) the driving force behind The Thorobreds, who are according to reports, back together and currently in the studio recording a new album. I can’t compare Ill Bliss to any rapper currently living or dead because he stands out, with his painstakingly nurtured identity, so I’ll use his own words: “…I’m a hustler with mic skills…”

INTRO

Very “grand” intro and with a sample from one of hip hop’s living legends, I think it sets a nice tone for what to expect on the album. “In a league of my own, international but still locally known”

U GO WOUND

I’ve heard so many versions of this track including the Thorobred version which I thought was hotter than the version with Kel and Tha Suspeckt BUT I must say I still find myself impressed with a song that’s like almost a year old. Frenzy created a beast of a track and Ill Bliss tamed it. Full control. Never once let the beat overpower him. This is one of the best hip hop tracks ever made in Nigeria.

DAT IBO BOY

Another Frenzy production and after more than a year listening to this track it still grips me. “I’m what the games’ been missing, reason why your’ dough’s decreasing…”. Have I found my hip hop hero? hmm maybe… Listen, enjoy repeat till three thousand and 8. Its so unrepentantly and deliciously Nigerian, it really makes me proud.

ENUF SPACE (AIYE PO GAN)

You’ve got to give it to Ill Bliss, this track was very necessary knowing how Nigerians get all tribalistic for no good reason (not like any reason is good). The concept is simple, very well executed, the message timely. “Some say Ill bliss had a lot of guts (for Lagos?) Some say is the boy going nuts? Ibo people better than us? Never!, but you like the swagger, still a maga when I recite, but you can’t really bite..” This song is directed at all those “hip hop heads”. STFU there’s enough space for everyone, do your thing, I’ll do mine and don’t tell me its not hip hop. I concur and me likey very muchy!

GLORY

On first pass I detested this song and found myself getting pissed off that he wasted this genius beat from Wazbeat but I think this song requires a slightly different mind frame to understand. Ill Bliss has a very uncanny ability to read and use beats in unusual and refreshing ways. Most rappers would not have taken this approach but Ill Bliss did and made it work. The hook is quirky as all hell but its part of the charm of this song.

FEELING U

Yikes! Autotune… aw hell naw!! Its not exactly terrible, on the contrary I think the beat is one of the best on this album but autotune just rubs me the wrong way nowadays. What I’ll say is that this song just entrenches Ill Bliss’s creative talent and versatility. He is certainly doing his part in tearing down all the restrictive barriers that Nigerian hip hop artists have set for themselves.

TURN MY HEAD FT. WAJEH

The track has a very nice Nigerian reggae feel to it and I think the ladies will love this track… Wajeh does a great job as usual and when is her album coming out? Ill Bliss tells a nice story and he does know how to keep you engaged in his lyrics if you drop your preconceptions of what hip hop is or isn’t and just enjoy the music.

DON’T DIRTY MY SHIRT

Just a decent song, nobody is perfect. Next!

CURRENCY BOYS FT. ELDEE THE DON

Listen to this song on good speakers. The song is in the bass. You won’t get the song on your shitty ass computer speakers you need some powerful sub-woofers. I thought elDee was going to murder Ill Bliss on this track but man its a tough call… “rap Dangote, I go change your fortunes man” that’s a hot line in context. Man, I don’t know hip hop heads should love this song. This is one of those tracks that I’d love to hear more people use on mixtapes and such. And did Ikechuckwu just get called out? lol! Hmm “that other fake Ibo boy…” I know there was some shady stuff going on with “someone” trying to “acquire” the Ibo Boy image.

DA BOSS

I’ve learned not to underestimate Ill Bliss’s range and depth. Tha Suspeckt is on some weird ish on this track but it grows on you and (I hesitate to use this word, its really its embarrassing) is actually quite cute. There I said it. DNH. I think I’ve found my hero.

LEADER FT. DURELLA

First song that really disappointed me, Durella could have offered so much more on this track but instead just kind of ruins it in my opinion. However, this song is not really on the album for its strength, its a marketing tactic so I’ll just keep on moving. Next!

TOBECHUKWU

Oh shit! That classic sound. Sick beat. Just to let you know he still got it but before certain kinds of heads start getting too smug he drops this gem: “This is how hip-hop is supposed to sound. Underground, main stream, f*ck classifying it…” I agree boss. Elajoe is crazy for this one. What!!!

SIDE OF YOUR MOUTH

Hands down, I think this is my favorite track on the album. Most people might find this strange but I has a very Tupac meets Wu Tang Clan in 2009 feel. Just listen to the lyrics and soak up that ill beat. Just let it flow over you, don’t fight it. Ill Bliss switches his flow a little bit here and shows yet another dimension to his skill.

LIMELITE

Another song I didn’t like at first. It’s not a very typical song, even though it uses elements of the currently reigning formulas. Again his storytelling is quite engaging and compelling, I find myself getting sucked into his world and seeing things from his perspective. This is great music. I can feel it.

NATIONAL CAKE

Pure throw back track. Would have been sick to have Modenine or the other Thorobreds on this track! Oooh the possibilities. Jonah The Monarch did brilliantly with this beat, its very powerful and soaked in a painful emotion that Ill Bliss echoes. I think most Nigerians can relate to the content of this track on some level.

BLESSING

It’s not a bad track but no matter how I flip this track I just can’t get into it. Even Pype’s very well vocal’s couldn’t lift this track up for me.

LEAD THE WAY FT. C-MION

This is world class music with that mid to late 90’s feel. You know you can just imagine Puffy and Mase on this track and C-Mion is so on point with his singing it almost hurts. Damn. I’m getting all emotional here. I’m sure the ladies will love this track. Beautiful track. It’s simple, elegant, well written and executed. Micworks needs to be flogged for this track! Its like he’s cheating for Ill Bliss.

MUSIC NA HUSTLE

You would imagine that I’d not forgotten not to underestimate Ill Bliss right? Well I’ve been thoroughly disappointed by many Nigerian musicians in the past but Ill Bliss is in a class of his own. Genius on the mic, he has a knack for taking you to a familiar destination in a very different and unique way and this track is no exception. One of the best tracks on the album, from the beats to the delivery to the lyrical content, everything falls precisely in place. “No godfathers, all I need is God the father for my success…”. With a line like that how can you go wrong?

CHANGE

Does he ever stop? I know I’ve definitely found my hip hop hero. Listen. Listen well. Listen until it sinks in.

UWA AFUFU (LIFE)

Another classic beat from Jonah The Monarch on which Ill Bliss tells yet another well told and engaging story. I like this combination. It’s unbelievably getting boring how he seamlessly blends into every track so effortlessly.

OUTRO

Well done. It is a classic.

FINAL THOUGHTS

Dat Ibo Boy is a delightful offering from rapper Ill Bliss, that redefines all the parameters typically used to measure a hip-hop. There are no self-imposed boundaries here and Ill Bliss makes it very clear that he intends to keep his music that way. Lacking the raw lyricism of a Modenine or MI (and that’s not to say he can’t hold his own with the heavyweights as he proved on Currency Boys), he more than makes up for what ever he lacks in lyrical dexterity with a persistent and skillful simplicity and with a clarity of thought that keeps everyone on the same page with him. You never for once feel that he is doing anything you can’t do and there, in that complex simplicity, is part of the appeal that will keep Ill Bliss relevant for years to come.

There is no half-stepping on this album, when he commits to a track, he goes all out and doesn’t hold back. Even with the overused autotune on Feeling U, he somehow manages to keep it under control and not let it overshadow him or his message. There is also a very strong pride in both himself and his country that can only be achieved when a person is comfortable in their own skin and identity. There are no fake or forced accents here, no pretentious attitudes, no arrogance. Just a simple confidence in his ability and a very clear and intense focus throughout the album.

Ill Bliss also manages drops several hints about what his game plan is and if you listen carefully you’ll get the message. To him, this album is nothing more than a stepping stone and maybe a blueprint for what’s yet to come. He is not just a rapper, he is a force of nature. You can not and should not even attempt to define Ill Bliss as he somehow manages to shatter all expectations and perceived limitations you place on him or his music. “This is chop music, music wey dey bring bread.”

Ill Bliss’s biggest strength and simultaneously his greatest weakness, is that he is so intelligent and skillful that he makes it all look too easy. So easy that people, including myself, tend to underrate him. He has with this album, sealed his place as my hip-hop hero. He is the vanguard in the struggle to define what it means to be a contemporary Nigerian rapper; boldly going where no man has gone before and making it work.

ALBUM HIGHLIGHTS

U GO WOUND, DAT IBO BOY, TOBECHUKWU, AIYE PO GAN, SIDE OF YOUR MOUTH, LEAD THE WAY, MUSIC NA HUSTLE, GLORY

Even though Mushin 2 Mohits is Wande Coal’s debut album, he is not a stranger on the Nigerian music scence, having enjoyed ridiculous levels of airplay on the various tracks he has featured on from fellow label mate D’Banj. He also featured on several tracks on the Mohits All Stars album C.V. All this combined to make him a household name before his debut Mushin 2 Mohits was released. You’ve got to give it to his management and Mo Hits Records, if nothing else, they know how to create stars. This was definitely one of the most anticipated debut’s in recent times, with perhaps only MI in the same range.

Check out Wande Coal’s official sites here and here.

I KNOW YOU LIKE IT

It starts off like a dance track but right about the first hook, it throws you off a little.  There’s a nice blend of electronica and the naija pop feel that Don Jazzy is becoming quite adept at. I really love the Nigerian feel of the xylophone barely under the surface. It’s not likely to get much airplay or club play but it is a decent song with great production.

YOU BAD FEAT. D’BANJ

It starts off like something out of Kung-fu Hustle and then rapidly develops into a pretty standard Don Jazzy dance track. The hook leaves me asking “is that really all you could come up with?”. As for the rest of the lyrics it’s really pointless as it’s obviously made for the clubs and I’m sure it’ll do well there. All the “lepa’s” will develop early arthritis and “orobo’s” will lose that weight dancing to this. Something I thought was impossible actually happened on this song. I didn’t notice D’Banj. I had to go back and search for his part. That’s a good sign for Mr. Coal.

SE NA LIKE THIS

Wande Coal dropping a little social commentary? Interesting. The unexpected subject matter is very refreshing. It’s a pretty standard Don Jazzy production though, nothing really strikes me while listening to the track apart from that kid. Damn I love that kid. Nice touch by Mr. Jazzy.

KISS YOUR HANDS FEAT. IKECHUKWU

What if Michael Jackson was still black? What if he was Nigerian? What if he had Don Jazzy for a producer. Well this might be what he would sound like . The beat is just plain sick. It’s like a cross between a Neyo production, the new Nigerian pop sound and the caribbean sound. There’s just so much going on instrumentally it’s occasionally overwhelms the vocals especially during Ikechukwu’s verse, which was a shame because it was quite nice.

CONFUSED FEAT. D’BANJ

This track had me dancing before it even started. It’s got this energy that makes you want to push your girl away and start break dancing like a fool and at the same time pull her close stare in her eyes and sway gently. That is hard to do. D’banj rocks this track but when all’s said and done Wande holds it down and doesn’t even come close to being overshadowed. Don Jazzy is just a sick bastard. How does he do it? It takes me back to the mid 90’s feel in a very good way. What I want to know now is who is this girl??

SE OPE

By far my best track on this album. When I first heard it I was like, damn this is just plain corny but the truth is it’s that simplicity that brings out the true beauty of this song. Some can sing but have no Don Jazzy, some have Don Jazzy and cannot sing. Wande Coal has both thank God he’s using it well.

NOW IT’S ALL GONE FEAT. D’PRINCE

This track was disappointing not because it’s bad, on the contrary it’s quite good and once again, Wande tapped into that mid 90’s Dru Hill type feel and pulls it off. D’Prince was really out of place on this song and just kinda killed the nice little buzz the song had going on.

BUMPER TO BUMPER

Heard this song first probably last year or so and loved it but I was surprisingly surprised again. The track has been upgraded. A few more instruments, a more dynamic drum pattern and sprinklings of adlibs here and there from Wande and Don Jazzy spice the song up just right. Can I hear someone say club banger? Listen to your potential new national anthem.

WHO BORN THE MAGA FEAT. K-SWITCH

Hmm seems like a formula song to me. Remember If You Dey Crase featuring the same K-Switch on D’banj’s The Entertainer? It’s a good song though and Wande’s lyrics are interesting and provide enough “gen-gen” for the dark super bass track. The high pitched singing is a little awkward though. Good song even if formulaic.

THAT’S WOTS UP

Blending old and new? That’s what’s up. Adding some screwed samples to this track and not sounding stupid? That’s what’s up. Lyrics about bling but still make people like me who don’t particularly like the culture listen? That’s what’s up. The organ? That’s what’s up. The drums on this track? That’s definitely what’s up.

BANANAS FEAT. DR. SID

This is one time the corny lines just don’t cut it for me. No doubt some folks will absolutely gobble this up after all the beat is solid, I just think it’s a waste. Dr. Sid did little to improve my opinion of the track.

TABOO

I’ve heard this song too much. Lagos clubs are over playing it. Doesn’t mean I’m not dancing and singing along though. It’s got a very catchy hook and a very club friendly vibe and bass line. Nuff said. You’ve probably heard it a million times.

JEHOVAH

Ah, the Nigerian token track to God. I just don’t get why they do it. You’ve talked about fucking people up, stealing people’s wives and all sorts of non Christian things all through the album but you think that one song somehow makes up for all that? Actually it’s not limited to musicians, it’s just a Nigerian thing I guess. That said it is a very good song.

OLOLUFE, TEN TEN, MY GRIND (BONUS TRACKS)

I’m ignoring them.

FINAL WORDS

I enjoyed listening to Mushin 2 MoHits, and I think it’s solid first effort from Wande Coal. In an industry plagued by mediocrity, an album like M2M with a consistent ambience and energy definitely stands out well ahead of the pack. Wande Coal chooses to play it very safe and sticks quite rigidly to what I’ll call the Don Jazzy template. That’s not necessarily a bad thing, though I would have loved to see some more artistic expression and character. There was quite a bit of creativity on the album though but it was mostly limited to the backing instrumentals and Don Jazzy’s production which Wande Coal used effectively but not creatively. The one thing that really impressed me about M2M is that I was constantly aware of the concept of Mushin 2 Mohits, and that is something few Nigerian albums have been able to achieve.

ALBUM HIGHLIGHTS

CONFUSED, SE OPE, SE NA LIKE THIS, BUMPER TO BUMPER, TABOO

I just got that new Ikechukwu album Life & Times of Killz Vol 1 and I gotta say my favorite Mo Hits groupie is quite bold… The name of the album sounds suspiciously like Vol 3… Life and Times of S. Carter doesn’t it (I’m serious, think about it for a minute) and even the album cover seems to be inspired by Vol 3. Oh well, can’t knock a guy for imitating his heroes can you? Anyways Ikechukwu occupies a very weird space in Nigerian music, being recognized by his peers and fans as a talented rapper but perhaps due to label pressures was forced to take a slightly different approach to his music resulting in a huge gap between him and his fans. And then there’s the issue of him being seen constantly in other peoples videos and regularly contributing such profound lines like “ei!” on his World Famous Academy partners album. This album is supposed to be his redemption, his statement of who he is, what he stands for and to prove once and for all that he’s not a sidekick. Its also supposed be a concept album, in that every track is an “audio-movie”.

Check out his official site

VEXING

I have no idea what he’s ranting about and it just feels like he’s trying to get you pumped up for the album. Unfortunately the beat is just wrong. It doesn’t match the energy he’s putting out and actually has a comical feel to it. Why do you call him Killz? Funny I would have sworn he’s the only one who calls himself that…

DA INTRO

Unfortunately flat partially due to the odd voice he raps in. The story itself is interesting but like the beat does little to get you in his mind frame which I’m guessing was one of the intents of this track.

FINDING KILLZ

The story is nice and while I’m sure it’s been garnished just a lil bit, its still interesting and vocally he’s able to pull it off. Unfortunately though the production is terrible and the mixing is even worse. There’s voice levels randomly rising and falling. Oh wait! One mic? naahh… he didn’t… did he? Nas did it with his voice not by turning nobs.

ITS YOUR LIFE (SHEYKPEY)

Interesting song especially when he flips styles on the third verse. The first verse sounds an awful lot like D’Banj learned how to rap though. Still a generic track though, good production, better than average lyrical content but still lacking that oomph and emotional content.

NO MORE MR. NICE GUY FT. NAETO C

Versatility is a good thing but there are limits… Its not bad, its just confusing and the style on the last verse matches the energy and feel of the track best. I like the concept of the song and execution was almost perfect except for the weird whispering style used on the first verse.  TyMix is so far responsible for the two bearable tracks on this album. The Naeto C hook is what really made this track stand out. This should have been the intro track.

KILLZ

I was impressed right until the hook which sounds like the girl’s trying not to laugh at the ridiculous lyrics she has to sing and which was followed by the reason Ikechukwu has credibility problems. Are you a hardcore east coast style rapper or a comical 2shotz? There is glaring lack of confidence exposed by this track and I think Ikechuckwu has indeed “found killz” but is afraid to commit. Lets just imagine Puffy doing DMX’s verse from Mase’s 24hrs to Live… Get the picture?

GIRLFRIEND

The beat is sick and this is a well crafted song but it’s just kept a few agonizing inches away from a truly genius track because there’s no conviction in the delivery and the production just looses some details. The muffled effect is slightly overdone but the trippy almost psychedelic trance feel of the track is great for clubs and I can see this getting some club play. Compare with Shobeedoo. Where’s the quality control?

SHOBEEDOO

Well this has justifiably been all over the airwaves and in the clubs. Great concept, execution and production even with the corny lyrics and all.

LIKE YOU FT. WANDE COAL

Ikechukwu seems more a home and often does his best work when doing fun songs like this than trying to be all serious. Verse two really sounds like D’Banj started it… had to check the credits again to make sure…

OGODO FT. EKENE

I have no idea what she’s saying but it sounds good and still no shortage of different delivery styles by the king of personalities.

BACK TO YOU

Has a late 90’s Jagged Edge R&B feel meets Justin Timberlake feel which is quite interesting on its own and he somehow manages to pull it off without sounding hella corny. That’s an achievement on its own.

SUMMER TIME FT. NAETO C

We got two seasons in Naija. Rainy and Dry. I can’t relate to this summer time in New Jersey sturvs. I don’t think its a bad track I just feel it’s quite irrelevant to the market he’s trying to sell it to. I just can’t relate…

WONDERFUL

Interesting euro dance like production. I find myself ignoring his voice though and just bobbing my head to the beat… makes a huge difference…

RACE FT. THEMBI

A little Neo-soul with Thembi, I’m liking this but there’s always a but with Ikechukwu right? Yes. But whats with the aggro subject matter that just feels so out of place on a nice chill track like this?

WE GO HARD FT. MI

Nigeria’s first musical ashawo is here and he doesn’t disappoint. Sounds like something I’ve heard before (Jay-Z?) but I can’t place it. This is where Ikechukwu’s versatility saves him. I find his constant bragging about his rapping skills and putting down other rappers quite annoying though after all he’s been singing and doing all sorts of non-rapping thingies all over this album.

IGBO BOYZ FT. NAETO C

Crazy production here, the beat has the bounce, the swag and the right attitude. Damn near perfect production that manages to have a distinctive Naija feel to it. I’m feeling the Igbo boy swag. Should have had Dat Ibo Boy aka Ill Bliss on this to complete the track. This is perhaps the best track on the album.

MO FOWO SERE FT. ALAYE

WTF? HA! I love the jazzy beat. Its real nice but Ikechukwu has no idea how to use it and ends up with is odd song.

WIND AM WELL

Been out for a while. Good song but sadly it feels more like he’s a guest on his own track. I’m sure most people think that’s exactly what it is. The beat is sick and its one of my favorite’s and Ikechukwu does hold it down its just the star power of both D’banj AND Don Jazzy that outshines him.

EXPLODING

He might think he’s a rapper but this track proves otherwise. Ikechukwu has lots of musical talent and I think it shows best when he’s not trying to be Mr. Killz, hardcore rapper. This is the most honest expression he has on this album. It’s raw, unrefined and fantastic. The instrumental backing is unbelievable and he harnesses that power and channels it. Trippy.

FINAL WORDS

Life & Times of Killz Vol 1 is a terrible mish mash of random tracks most probably written and recorded years apart. The production quality on the album is as inconsistent as our power supply and Ikechukwu as an artist still has not found himself and therefore can not express that through his music. All the talk about Life & Times of Killz being an audio movie feels more like marketing jargon thought of long after the songs where recorded. The album comes off more as a super mixtape. The kind an artist releases right after he signs with a record label, designed to introduce him to the public rather than the work of an established artist. The lyrical content of the album also leaves much to be desired as the “multiple personalities”, an excuse in my opinion, for sloppy composition and laziness in following through with a musical concept. There are a couple of great tracks on the album and quite a few that perhaps with just a little bit of extra work and attention to details could really be classified as classics.  All in all, its a decent album but it will soon be forgotten.

ALBUM HIGHLIGHTS

EXPLODING, GIRLFRIEND, NO MORE MR. NICE GUY, SHOBEEDOO, RACE, IGBO BOYS

VIDEOS

SHOOBEEDOO

httpv://www.youtube.com/watch?v=Z616NY5yleQ

WIND AM WELL

httpv://www.youtube.com/watch?v=hpHZKDmZxbE

LIKE YOU
httpv://www.youtube.com/watch?v=inANlsnb_h4