I challenge D’banj to blaze the trail once more, and have me re-editing my already typed works.
…
D'banj is not a great Singer, but he's probably the most successful. Anybody that is complaining now could be actually late ‘cuz if he were as bad as the saying goes, he wouldn't become as large as he is. …we realize we cannot Rap. We realize we cannot sing; but we know we can entertain you in our own way.”
– Don Jazzy (Punch Newspaper, 8th October, 2011)
“Every Artiste’s work, unless he be a hermit, creating solely for his own satisfaction and with no need of sales, is to some extent socially conditioned; he depends upon the approval of his patrons.”
– Unknown
Continue after the break.
Music
is a tool for change. Music is everything. Music is a panacea, and
especially can buffer the pressures from the countless bustling of our
daily pursuits. To ignore the energy of music could be similar to
unmasking an ancestral spirit.
Since the D'banj-Jazzy imbroglio, I've tried hard to detach myself from subjective stands. I've watched and observed both parties keenly and I believe it's safe to write on my analyses thus far. The summary of my discourse is that D'banj is waning.
Since the D'banj-Jazzy imbroglio, I've tried hard to detach myself from subjective stands. I've watched and observed both parties keenly and I believe it's safe to write on my analyses thus far. The summary of my discourse is that D'banj is waning.
Now,
let's get down to brass tacks, for it seems the Koko master isn't (or
has found it impossible) recording anymore great songs, without his
erstwhile team mate- Don Jazzy, and anybody who saw their matchless
combination before could be as worried as I am. Banga Lee isn't
recording anymore major pop/street anthems, as he used to, yet he
continues to feed on his past glory; by still managing to sell out shows
and cover magazines. Can we safely say then, that his musical career is
loitering on the brink of a collapse? As much as I'm between the pro
Mo'hits vanguards, having faulted the D'banj-Jazzy split up forcefully
and objectively, especially in respect with their dwindled musical
representations subsequently, i'd like to make two things clear: First,
Don Jazzy has quite succeeded in delivering major, attention-grabbing
materials; even without D'banj, and I can count from top of my head 7-8
major hits he has scored, to substantiate.
Secondly,
my criticisms are borne out of my concerns for good music and
formidable entertainment empires – empires that will quake the nation
and go onto stun the world. Nothing more. I have nothing whatsoever
against D'banj personally, but the fact that ‘Oliver Twist'continues to
be his biggest single since he parted ways with Jazzy is
thought-provoking. How can an old Jazzy-produced single be larger than
the whole D'banj post Mo'hits album? I'm worried. You must be. It should
disturb real D'banj fans and music pundits in general. He is not
hoisting his flag (on same musical high as before), he stays playing
into the hands of Don Jazzy faithfuls, who believe strongly that Jazzy
could be the muse behind his music.
In
the light with this, I implore D'banj to please awaken and clear rife
doubts. There's no better time than today's, considering his background,
and Perhaps; his comprehension of the yearnings of teeming fans,
supporters and critics.
D'banj
is NOT Denrele, Uti Nwachukwu or Saka. Stage performances are just a
sequel to good songs. Performances should feed off and complement
wonderful studio projects. He is a self-acclaimed entertainer, and I
have not really a drop of doubt about that; but what is his entire
‘acting'and ‘theatrics'and shirt-pulling-bragadaccio without some heavy
club/pop anthems for the folks to nod to? If, as an Obi Asika for
example, I don't fancy being outdoors much, does it imply I'd never get
to connect with a talent in D'banj's mould, because I would have to
await him to make up; on stage, for lapses on his tape? This
illustration is definitely aside, by the way.
I
don't know the terms of the G.O.O.D Music handle D'banj but I
understand that it will never serve to position his career fully, if he
doesn't deliver to his patrons; his home-based patrons. The fans and
listeners in the home are his major patrons. International recognition
and acceptability only flow from hits -multiple hits- that will need to
have been endorsed by the pundits, fans and critics in the home; at the
very least to a sizable extent if not in its entirety.
Another
choice before us is hoping D'banj switches styles and goes completely
international in his pattern of music. But you can find pitfalls. He
can't switch styles today and circumvent with the American genres
tomorrow. D'banj is not the most effective singer or rapper or dancer.
He'd hardly scratch any surface there, with or without G.O.O.D Music. A
Banky W, Bez, Dare or an MI Abaga, with their much seemingly
up-to-foreign-standards deliveries wouldn't dare go that route; that
will be the musical equivalence of taking coals to Newcastle.
Godwon
won Eminem's freestyle battle, he hasn't achieved anything in the
American Industry afterwards. Matter of fact, he's struggling to find
balance within our industry, and until his recent annihilation of Sauce
Kid, was going on with a just-about-average name in Nigeria. Well,
except in Hip-hop circles, which really is a relatively small chunk of
our ‘listenership'base. Craig David -in his heyday- used it, he left
Southampton and went ahead to test new waters in America. He's still
licking his wounds.
Your
home turf is any artiste's bedrock, he mustn't screw with it. It's his
best bet and must certanly be served right. If he loses at home, he
won't win away, this is not Premiership or Champions League. See,
prolific and seasoned entertainment writer, Jon Caramanica, struggled to
create a bit on ‘D Kings Men '. He wrote a paltry work with NY Times,
like he was lost for words or he was spending money on each alphabet
together with his blood. I was tired. D'banj is our own, they don't
really know him like we do. They never will.
Amidst
all these though, Banga Lee has a strongpoint, and we ought to admit.
He commands respect and captivates a titanic audience. He's still
killing it, I must add. Only thing is he can only go up to now if he
doesn't commence to coal the fire. Whilst I'm not saying Don Jazzy is
the beginning and the finish of his career, I'm saying he is giving
critics plenty reasons to posit thus.
‘Oyato'-obviously
hastily done, in a bid to announce he was still in charge- was a really
weak song. The ridicule in its wake was just as sick. I got it
online the day it was launched, I had been chilling for a post Mo'hits
material from the Koko master. I played it a few times on that cold
evening. I was outdoors, my headphones on. At some point, I flung my
head back and laughed aloud. It had been a bitter laugh, the type that
may create a passer-by stop and stare. My expectations were dashed.
Some
one year plus after, nothing has changed, save for ‘Top of The World ',
and perhaps ‘Cash Flow'and ‘Bachelor '. The Koko master stays releasing
music that leaves much to be desired. And gradually, his arsenal is
depleting, his monster hits thinning out, his fire smothering and our
musical cravings ebbing. My outlook of his career, at present, is
positively dispirited.
On
‘Scape Goat'Remix, his GOOD Music benefactor, Kanye West, spat some of
his most insipid lines ever. I was nearly teary-eyed upon hearing those.
I wonder if that says anything about what value Mr. West places on his
huge Nigerian signing. I must say i wonder. Fally Ipupa lends further
credence to my suspicions of D'banj's nosedive on the ‘D Kings
Men'Project. ‘Nous Les Meilleurs (We The Best)'was one helluva fiasco,
it reeked of only rambling sounds. I'm also thinking something is wrong
on the elements of his A&R team, otherwise that song had no business
on the album.
I
could have been opinionated all article long. Allow me to share with
you what Ayomide Tayo, a music critic, wrote in his overview of ‘D Kings
Men ':
“…Fans wouldn't give D'banj's new songs half of a chance because they lack Don Baba Jay's magic touch. D'banj understands this and fights back on several tracks on DKM.”
My question now could be, have these fight backs delivered the products? Exist major hits consequently of the fight backs?
Ayomide writes further:
“…On DKM there are no huge pop anthems like the people crafted by Don Jazzy in the Mo'hits period. What we have on this compilation are strong pop songs hinged on D'banj's personality and amazing instrumentals.”
At
this time, I'd implore us all to minutely dissect Ayomide Tayo's
postulations vis-a-vis my aforementioned analyses, then figure if the
Koko Master is still breaking grounds (musically). Once we digest these
words alone, can we also ask that the actual Koko master stands up? By
‘stand up'I mean rise up and take the lead, as it used to be.
I
understand and respect that D'banj has great fortunes (possibly than he
knows what to do with them). It's musically he is (almost becoming)
destitute, and any true supporter would be pained. This is exactly what
necessitates my writing. I'd like some carefully done and structured
songs, I want him to orchestrate hits upon hits like we used to possess,
monster hits like Wizkid, Olamide and Ice Prince did within the last
10-12 months. I want not more of his forceful, hasty attempts at
foisting his music upon us.
Whatever
the case, I don't expect Banga Lee to see this and bite his thumb nail
(I know he does bite his nails and stuff) and lose sleep, together with
his mind hovering over problems of just how to conduct his music in
order to establish evidence of his genius (with or without Jazzy).
I also don't want to excoriate his brand and person, in the least. Candidly.
But
I believe that piece will have served its end, should it flourish in
the minimal task of rousing the Koko master from his pseudo-American
dream, into a fact where he assumes the mantle, as you of Nigeria's
biggest music exports of the 21st century, and churn out works that will
have oppositions bowing in awe.
I
challenge D’banj to blaze the trail once more, and have me re-editing
my already typed works. I need him to clear my doubts so I can probably
beg a few of my closest, kindest friends; to help me into a state of
temporary oblivion, by shutting my door, whilst I sedate myself with a
measured doze of Gin and Juice, as I fade slowly with R. Kelly’s ‘Turn
Back The Hands of Time’ playing quietly in my background. I am waiting. I
know a million people who also are.
I'm on your side Omo Oodua.
ReplyDeleteThis is not a challenge naw...dis is a death sentence already carried out...big ups tho, we need to discourage more of our naija artistes from selling out and leaving us....if not for we d naija fans where wuld they be.
ReplyDeleteBanger Lee has to warned, he is heading towards pedition..... Charity they say begins at home. If he continues to fail in releasing hit songs to his home-based fans then the love, respect and accolade he has gathered for almost a decade or thereabout wil continue to diminish and this wil hinder him frm being recognise internationally.
ReplyDelete