One of the significant mainstays of hip-bounce is fight rap. In the beginning of hip-jump, rappers had steady face-offs to test their rhymes, innovation, road validity over 'hack and screw' beats unleashed by DJs or the symbol of history, blast box. 'Who was better' was dependably the prize. That is the way the class developed!
Shawn Carter otherwise known as Jay-Z, in his book 'Decoded', recounted how he once exchanged stories in a New York eatery with U2's frontman, Bono, over the history and importance of the hip-bounce.
"Hip-Hop is an immaculate blend in the middle of verse and boxing—obviously, most craftsmen are aggressive, yet hip-jump is the main workmanship [… ] that is based on direct meeting."
Boxing terms have been utilized to express melodious quality, medication managing ability, sexual ability (up Lil' Wayne's back street). It's not all remote as Nigerian rappers have utilized this: from Ghost (Show Dem Camp's) "moving with punches, staying with pokes—when I toss that haymaker dawg, crap is a wrap" on OD, to Mode 9 contrasting himself with Rocky (Graziano or Marciano or Balboa?) on Your Girl, to A-Q on Simplified, to Jahbless' Joor (remix) video, to Lynxxx in gloves and shorts on Eziokwu. In any case, the connection goes to the sixties and seventies when a sure Muhammad Ali utilized "rap" verses to unsettle adversaries before thumping them out.
Olamide Adedeji, referred to monomymously as Olamide, burrows through late history to title his sixth collection (in five years), Eyan Mayweather (like Mayweather) after Floyd Mayweather. Olamide drops his second collection in a year following in the tracks of 2015 Naeto C and 2010 Mode 9. Like Money Mayweather, Olamide endeavors to stay undefeated, holding his title as the "most sizzling Nigerian rapper"; how can he toll in this titanic undertaking?
Olamide's hard working attitudes in Nigerian contemporary music is second to none. He has ostensibly the most hit melodies in the most recent five years, and checking. From a studio rodent in ID Cabasa's Coded Tunes to shaking the business with YBNL to his protégés-Pheelz, Lil Kesh, Adekunle Gold-bringing the merchandise. Recompenses, sold-out shows in Lagos, Malaysia, USA and London, brand supports have all been stacked by the Baddest Guy Ever Liveth, and he isn't finished? He joked: "I'm still extremely hungry." And the craving that lines his midsection appears on Eyan Mayweather, he spits bars like a green bean hunting down acclaim and not as one who as of now sits on Hip-Hop's pyramid serving the preletariat.
With regards to his "I do this for my fans" mantra-that he once voiced-Olamide talented Lagos Boys, a hymn to unite revelers from Ikorodu to Lagos Island, with the learning that each city needs a signature tune. Lagos, the origination of Olamide and home to more than 17 million tenants, is known for the straightforwardness at which money is spent—the length of pockets run more profound than the tidal pond to take into account this extreme way of life. Olamide knows it. He knows the heart of the city. He remains as the voice to suppress protestation, look for a characterizing sound for the cosmopolis, and he reacts—Sneh! Lagos Boys isn't the main punch Olamide draws that weds components of Juju, Fuji and Hip-Hop for the individuals who adore their egg white agbadas and otherworldly geles and their owambes and their lips sparkled with grouped meat and the finest of liquor, he tosses Be Happy, Say Something and I'm OK. These tunes are certain to get party creatures tossing the baddest shoki or Shakiti Bobo on the dancefloor in the clubs or under shades.
On the recent Bobo, Olamide's Young Jonn creates a contender for the Song of the Year. Off the sound, one can tell his Fuji/Alujo leanings, while Eko Akete portrayed by Chris Ajilo gets respect. Yellow confronts and yellow transports in Ojota, Agege and Okota get specified by the Bariga-conceived artiste. Olamide has accumulated a solid group, something most rappers have discovered hard to do, and on Bobo not just Young Jonn and BBanks (melody designer) are enlisted, DJ Enimoney-YBNL's DJ-gets the opportunity to work, as well. The universal move that birthed the record was propelled by Enimoney, who happens to be Olamide's sibling.
Maybe Melo was devoted to his child mother who has been with him through thick and meager before the acclaim and monies, one still finds the R&B experimentation deserving of applause. Pheelz, whose stock began ascending on 'I'm Going In' off Olamide's introduction collection, goes about as the boss maker on Eyan Mayweather and this is his finest minute on the 21-track venture. The piano-anthem sees Baddo sing for his Akanke, bearing his feelings and powerlessness—something of an irregularity among rappers not named Aubrey Graham.
Adversaries chilling in the corner get hit before they wipe the tears brought by the emo-rap—straight off from the title track Eyan Mayweather. The musical drama imbued track tosses punches, Olamide gets into Biggie mode-Kick in the entryway, waving the four-four– then goes into two sided saying "I'm on the phantom mode, eyan Casper/Cassper." When in uncertainty make inquiries, so Olamide gives rappers the open door—Tani best rapper, oya so fun'mi?"
He calls himself the "New Jigga", something he initially voiced on Apa Ti Jabo. Like Jay-Z who dropped 10 collections somewhere around 1996 and 2004 (a 8 year-period), Olamide is on that way to hold the command hierarchy year-in-year-out. Jay-Z had in the past contrasted himself with Ken Norton, Cassius Clay, Rocky and significantly Mayweather. Olamide takes after Jigga's layout of Hip-Hop southpaws, unconventional system for grabbing hearts and outlines.
Jega proceeds with the preeminent rap denoting his region with boxing allegories: "Ti'n ba wo gboro won mama n treat mi be MKO/T'eba wo gboro won mama run yi dad, KO [… ] Won mama punch e." Jega's keys are ghostly like T.I's Live Your Life, much the same as Ball is an explicit counterfeit of T.I's melody of same title. Be Happy's synth-bass sounds like offed Jay Pizzle's Vasashii for Tee Blaq.
His tribute to bootylicious women Don't Stop falls off like a bit of hindsight, and turns into a filler track. Olamide's Ewo Idi was a superior track for posterior partners in this web age. When he sings "pesepese bi Man O'War, bo'je iro ati buba lo wo" the punchline isn't as sharp as Vector's interpretation of enormous bums on Sexy Steel's Bebedi Alhaja.
On Eyan Mayweather, Olamide is back to shape after consecutive fair collections Street OT and 2 Kings-like a lost round and bruised eye. Also, he does it in fine shape winning this battle, holding his title as the Hottest Rapper in Nigeria, and one of the Hottest Artistes. Commendable is the way that he did it without any components, save extra vocals from Pheelz and BBanks. The spread craftsmanship for his sixth collection takes focuses off; a road collection need not be composed mundanely. Kendrick Lamar did To Pimp a Butterfly. Eric B and Rakim's Paid in Full had a road roused back spread with the first 50 Cent-who threatened New York pieces. Olamide makes up for himself, finishing the collection on a high with OG Waheedee
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