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KISS DANIEL – NEW ERA (About The Album)
It is gladdening to see a fledgling act in Nigeria break free from the shackles of underground music and into the light of mainstream acceptance. For this to happen, the artiste needs three potent elements to make that push to commercial freedom – appealing content, intense marketing, and a shrewd understanding to make a star out of yourself.
Having a hit song still remains the surefire way, but the consistency to stay fresh and renewed keeps you in the limelight. That’s why the history of Nigerian music, and life itself is laden with many who flattered to deceive, flashed once in the pan, never repeated their trick, and quickly returned to dire obscurity.
Kiss Daniel had his big flash in 2015, ushering in a Christmas-beaten Nigeria into the dreaded year of the General Elections with the melody and drums of ‘Woju’. That trick has since found a way to be consistent, and it has led him to this point where he is recognized as a Nigerian star. Just over a year since that big break, he has kept his hits rolling off a conveyor belt, looking pretty, and begging to be appreciated. Those hits have spawned an ambitious album, where the only feature on it was from the family – G-Worldwide Entertainment – with labelmate Sugarboy having the three nods on the project, together with production and writing credits.
Kiss Daniel brings on the magic from the start, announcing his ascendancy in Nigerian music with the thumping ‘New King’, before going on a long, heady, love-filled journey to win a girl’s heart. The singer sticks to the subject which has been largely responsible for his success. The track album feels like an emotional meandering through all the stages of love and romance, peppered with gratitude to God for success.
Love shines through on the tropical ‘Jombo’, the ubiquitous ‘Mama’, the haunting ‘Gobe’ and many others. There’s happiness on ‘Good time’ and ‘Laye’, vacant spaces on ‘Give into’, and an Akon-esque burlesque feel on ‘Kudi’. The best work on this album resides on ‘Are you alright’, an immersive, percussion heavy candy, as Kiss Daniel passionately deals with the relationship between money and love, while ‘Kiss me’ gives up a longing that is paradoxically clingy and manly in execution. The singer’s vulnerabilities shine forth, as effortless songwriting make him shine.
Versatility is also one of Kiss Daniel’s strengths. There’s a rattling dancehall patois on ‘Sin City’, while the clangy gong on ‘Duro’ combines with Kiss Daniel to bring out a delivery reminiscent of 9ice in his prime. There’s also the much crowded reflective and thankful tracks about the struggle and success. ‘All God’ is perhaps the most popping thanksgiving song that has ever been laid in a studio. ‘Alone’ employs cohesive live elements, while another day is morbidly satisfying.
REEKADO BANKS – SPOTLIGHT (About The Album)
The Mavin Records singer was signed two years ago by Don Jazzy, and has progressed considerably, becoming a Nigerian star. He cements his position with the release of his debut project.
“Spotlight” album, the first Mavin Records album of the ‘Mavin 2.0’ trio of Reekado Banks, Korede Bello and Di’Ja.
“Spotlight” album is Reekado Banks’ first body of work. It is released under Mavin Records. The album is produced entirely in-house, by Don Jazzy, Babyfresh and Altims.
Don Jazzy produced six tracks, Babyfresh tied that number with a decent 6 tracks, while Altims got a slight edge, supervising work on 8 tracks. This brings the sum of all the songs to 21, inclusive of a skit handled by Kenny Blaq. The album contains 18 new songs, with released singles ‘Katapot’, ‘Oluwa ni’, and ‘Standard’ making the project.
At 21 tracks, the album is a little too much, you know. There’s music at every turn, and you just might not have the time to bump and grind to everything. Pulse Music shortens the process and gives you 5 super tracks that you should dive into and still get the Reeky experience.
Killah Whyna ft Patoranking
This is dancehall special. Patoranking and Reekado Banks hook up for what is a unique dancehall single. There’s a lot of versatility for Reekado Banks, as he layers his brand of patois into the beat. There’s also an underlyimg Jazz influence on the bridge. Patoranking joins the fray with the experience of a veteran, and makes everything all come together.
Here we have the real ‘Gbedu wey dey burst brain. There are no prisoners taken by Babyfresh, who brings a dark thumping beat, with sparse synths to inspire dancing. This is a vacant club hitter with all the hallmarks of hit song. Don’t forget to enjoy the drums.
Biggy Man ft Falz
Reekado Banks continues his hit-making process with syncopation provided by Babyfresh, and a wicked guest verse by Falz. This is another dance single from Reekado Banks which sits comfortably among his long list of dance singles.
Inspired by Fela Anikulakpo Kuti, the song produced by Altims feels like an immersion into some of Fela’s best moments, only this time, it’s modernized, with Reekado Banks riding the orchestration of horns, drums, and background chants. It’s nostalgic, this one.
Don Jazzy is on a roll with this one. Afrobeat again, Reekado Banks goes conscious on this one. It’s a great composition from Don Jazzy, and Reekado hands in a power recording to bring another rarely seen dimension to his craft. This will draw you in.