The Rise and Prominence of J-Martins

If you think say na only you sabi, na lie. Plenty people dey wey sabi!

When next you see someone carrying a guitar, making a move to learn music production in a music studio or making noise about doing a music album, just leave him as you see him. Something within must have prompted him. Jamaican Eric Donaldson sang in one of his famous songs that one should not judge a book by its cover but to just turn the pages and read. I agree with him one hundred and ten per cent.

When J-Martins came out with that song of his that features Timaya and P-Square, I dismissed him. The makossa flair in that song turned me off. It is not that I have something against makossa but I was of the view that at a time like this when the Nigerian music industry is re-emerging, any peace of project must take into consideration the Nigerian flair first and any artist that fails to realize that, is lacking in knowledge of how the industry works and is likely not to do any good to himself and the industry at large. Martins eventually made me to understand through his most recent projects, that he was only passing through his music adolescence. Every body grows from somewhere. Like most other Nigerian acts be they D’banj, P-Square or Asha, Martins grew up in the eyes of the fans and should not be judged by his beginnings. The growth of Martins is however one of the most phenomenal.

Each time a big one comes out, he makes the fans proud. To them he is an assurance that the industry has come to stay and the local music industry will thus continue to represent the nation at the regional and world stage. There is no shying away from the fact that the Nigerian music industry is about the most prominent in Africa and is already making an impression around the world. The most recent project of J-Martins sends a message to Nigerians that the industry is more determined than ever to ensure that its prominence will never be floppy.

To me,” Cool Temper” is the song that drives me crazy the most. I used to hold my head between my hands whenever the radio plays it. It meets all standards and Nigerians who are yet to understand the man J-Martins need to listen to that song once again. Apart from the general bliss in the song, it has succeeded in re-enforcing the fact that as long as we remain Nigerians, we cannot run away from Highlife music. Anybody hearing this including J-Martins may be surprised that I am referring to the music as Highlife. I will come to that. All those lines of the song that talks about biscuits, moi moi and mineral, reflect the comic nature of Nigeria. The professionalism of the maker of the song is reflected in the modest nature of the song that seems to re-enforce the saying that you don’t get noticed by necessarily making the loudest noise; it simply takes making just the right noise.

There is the need to discuss what is Highlife to enable us understand if J-Martins music can be classified as Highlife. Good music is expected to reflect the culture of the people. Music, as part of art is also a mirror to the society, meaning that if reflects the society. The old Highlife music of Nigerian reflected the culture of Nigeria. In it, one could hear Pidgin English, Nigerian languages such as Ibo, Kalabari, Ibibio, Efik, the sound of the gong and other Nigerian native instruments. In J-Martins’ music the Pidgin English, the comic nature of Nigeria and the mention of words like moi moi, kulu kulu temper, mineral, etc is a reflection of the Nigerian culture. Though the native instruments of Highlife are not there, one could not pin the instrumentation to a particular genre of music. That represents the originality of the artist. Thus the music is a modern form of Highlife music just as I see D’banj’s and Bracket’s music.

From all indications, the Nigerian music industry is set to keep growing and J-Martins is currently one of the most brilliant colours of the industry.

Nigga Raw, Hip hop Artist?

With Hip hop being the reigning genre of music across the globe, it is now fashionable for music artists to brand their music as Hip hop even in circumstances where the music is apparently not. Here in Nigeria and Africa at large, the artist will refer to their music as Afro Hip hop.

A pertinent question here is ‘what is hip-hop?’ Hip hop is a culture and hip hop music is one that has been influenced by hip hop culture or way of life. That is to say that the music is reflective of that culture and anybody who lives that culture can relate to it.

The bits that make up a culture include dressing style, manner of greeting, language style, most favored sport, most favored music and so on.

When Hip hop music rose, from the late seventies to the mid eighties, to become very relevant attracting followership, the next thing hip hop artists started looking at was how to propagate the music culture until it becomes a global phenomenon. If the music must spread successfully, it has to incorporate local cultures in order to gain acceptance easily. However, the local artist must preserve the Hip hop framework so that it can be recognized as Hip hop by everybody including Americans, without been told.

The obvious impression when one listens to Nigga Raw is that he is listening music that is largely Highlife whose original home is the South Eastern part of Nigeria where Raw comes from. Furthermore, there is an element of clowning in Raw’s music, something that is abhorrent in Hip hop. As if that is not enough, Raw has developed the habit of remaking the records of renowned Highlife musicians, implying that he sees them as his idols.

Timaya and Bracket Embarrassed in New York

According to a gist monitored on Peace FM Jos on Wednesday 21, 2010, Timaya and Bracket, Nigerian music artists were refused the chance to perform by New York music fans that prefer live performance as against miming which the Nigerians planned to doll out. This is a practice that is not only common in Nigeria but acceptable.

A live show is so called as it is performed live with all vocalists and instrumentalists on stage. There is a difference between playing from a CD and watching a live show. When music is played from a CD, there is nothing to suggest that it was produced live or via computer instrumentation especially if the software used is sophisticated. All that matters to the fan is the sound. If however the fan paid for a live show he will not accept a CD playing from somewhere in the background while somebody moves his lip behind a mic in the foreground. The fans must have interpreted this to mean cheating and an insult not only to them but even the city of New York, the Mecca of showbiz in the world. The implication is that we have been cheated so many times, here in Nigeria.

Here at home, Timaya and Bracket are big names that have sold millions of CDs across the continent. When it comes to live shows however, it has to be the real thing. That is how it is done elsewhere and the Nigerian fans also deserve the best. While in Port-Harcourt, I watched American Usher and Shaggy at different times. The shows were all live in the actual sense of it. Even when Shaun Paul came to Nigeria I monitored his show on the NTA and it was live with guitarists, drummers and back vocalists playing live. It was the real thing.

Despite the disappointment, there is however, a silver lining to the whole incident. It is a challenge urging the Nigerians to live up to global standards which, in my opinion, is in the interest of the Nigerian industry. Furthermore, Timaya and Bracket have been challenged to use their money to put up live bands and go back to New York to clean up the mess. Anything contrary will amount to a total defeat.

Should the Nigerian music fans learn about the New York embarrassment, only God knows how they will feel when next a big name in Nigeria appears on stage without a live band. It will however be good for upcoming artists who are financially weak to be allowed to perform shows without live bands as is the only way the growth of the industry can be sustained.

Bank-W Makes Up for J-Town

Following the Jos crisis of January 17, 2010 we learnt that one of the boys that have made us proud in Jos by successfully taking his music efforts to the national level, M-I, was to come to Jos to donate relief material to victims of the Jos crisis. But he wasn’t coming alone. It was said that he was going to come with some other big names from the Nigerian music industry, one of the world’s most dynamic music industries. Among these artists, we were told, was Bank-W. We were delighted that one of Nigeria’s biggest was coming to Jos. At the end of it we were however disappointed as M-I’s delegation did not include Banky-W. The feeling was that the artist failed to identify with us. My personal feeling at the end of the day was that the artist was on his own.

Today however, I woke up to hear a music presenter with Rhythm FM Jos talking about a record Banky has made and it is titled ‘why.’ The artist explained that it was a question regarding the fighting in Jos. He then played the record. I listened to it and concluded that Banky has made up for his failure to come to J-town at long last.

The record makes reference to the regions of Nigeria and the blessings God has deposited in each of them and wonders why we choose to fight all the time rather than take full advantage of the resources to make the nation a better one. The record conveys some sad emotion and reflects the subject at hand. It also was replete with the Nigerian parlance ensuring that the Nigerian identity is not ignored.

I enjoyed it and accepted it as a compensation for the failure of Banky to come to J-town. We look forward to a Banky show in J-town and hope it will happen anytime soon.

Plateau Music Artists and Subcultures

Native Plateau State people are the real Nigerians. Real Nigerians are people who combined the qualities of both northerners and southerners. Yes, we combine these qualities. The northern quality in us is seen in our ability to speak Hausa language in addition to our native languages for which there are more than thirty of them. The southern quality is seen in our liberal lifestyles, something that is rare up here.

When one takes music artists from Plateau State into consideration, one sees that they represent three subcultures.

The first category is seen in native Plateau boys. The languages they use to express themselves when they sing are Hausa, English and their native tongues. Examples are Jeremiah Gyanga and Dach-mo. Artists like P-Square whose parents are of southern Nigerian origin are seen to perform in Pidgin English and their native tongue. While artists like M-I who seem to come from educated parents are strict in their of use English exclusively.

These behaviors are merely an expression of the type of upbringing they had while growing up from boys to men. One thing about native Plateau people is that they find themselves in circumstance where Hausa is the major language of communication. It is generally the situation in this part of Nigeria. Their children thus grow up speaking Hausa which they learnt by virtue of the environment and English which they learn in the classroom. The situation is however changing albeit gradually as most people are beginning to understand that compelling their children to speak English strictly is a way of giving the kids some class. I personally don’t think so. Children should learn the English but also the native languages.

Other Nigerians who came to Plateau from the south are also compelled to speak Hausa language since it is the lingua franca up here. They however speak this outside of their homes. Under a normal situation, this Nigerians don’t speak Hausa to their kids at home however. Instead they speak to them in their own tongues as the children must know where they are coming from.

Education gives people some class. This class is accentuated by the use of English in the home. The children grow up knowing that their parents are different and grow up upholding this class. As a matter of fact the kids are trained that way.

Dachmo: The Next Superstar to Blow the Nation from Jos

Good music must have that feel that keeps music fans coming back. By this, the artist remains relevant in the lives of music fans. If that is true, then the next superstar to come out of Plateau State Central Nigeria, would be Dach-mo, real name Solomon Dachomo. This was the revelation at the Azi Nyako Youth Centre, Dadin Kowa in Jos when his long awaited album, titled the Love Song was dedicated today.

Those charming feels that will keep people coming back to his music are the amazing power in his voice, creativity and his general professionalism. The album is a general embodiment of all these. His style is similar to that of Jeremiah Gyang, a lyrical mix of Hausa and English. This stands the two artists out from others from Jos like, P-square and M-I whose lyrics are either pure or Pidgin English.

Novices are of the opinion that the biggest challenge of making music is just having the talent and being able to write relevant songs. But the additional challenges are also in publicity and distribution. Even the great Bob Marley had this difficulty and had to team up with Tosh and O’Rilley to form the Wailers after his first album could not make it. When he eventually saw the limelight, the first album suddenly started receiving massive airplay. Dachmo says he never had challenges in area of airplay. The biggest challenge he says, is actually in distribution. Right now, he hasn’t got a marketer. Going by the multitude that turned out at the dedication however, there is a good chance that even that seeming obstacle will fizzle out soon.

Dachmo said his music talent was revealed as a kid when he became fond of playing improvised drums in the form of empty Jerry cans, powdered milk containers etc. Eventually he went to stay with one of his close relatives who led a flock at a church, the COCIN, Sarkin Mangu Street in Jos Township, where he had full access to the real drums and mixed with singing groups within church. These events helped him to fully realize how to put his talent to use. Besides being a singer/song writer, he is also a full-fledge drummer now.

He is Berom from Barkin Ladi but who was born and bread within the city of Jos. He was educated at two secondary schools, Tempest Secondary School and GSS Jos, now Sardauna Memorial Secondary School. He later had a diploma in Business Administration at the Plateau State Polytechnic. Not wanting to be left out of the golden bowl of the computer age, he went to ECWA Computers to study Micro Computer Engineering, bagging another diploma. He says he is done with education yet.

He is without any shadow of doubt, the present music maestro in Plateau State and a promise that the state will continue to make its impression felt in the fastest-growing music industry in the world. Take note!

Music Review: Nigerian Dbanj’s Entertainer Album

Dbanj’s latest album, entertainer, released last year 2008 represents a fulfillment of the wishes of the Nigerian music fans who want an assertion that the new and highly effervescent music era isn’t a flash in the pan but one that has come to stay. Records of how many copies of an album have been sold is often difficult to track in Nigeria as a result of piracy. This is however one album that many agree has sold remarkably in the history of music-making in the country. Seeing how rich the promoter has become as a result of the sales of just the album has raised the question of who is supposed to benefit more as a result of an album sale. Is it the artists or the promoters who presently benefit more than the artists in the Nigerian setting?

The new music generation in Nigeria is distinct by virtue of the fact that it is characterized by a music style that has refused to take into consideration the Nigerian music past. This album however stands out as an exception. While most artists of the generation have relied solely on the use of Nigerian Pidgin English to give their music the Nigerian identity, Dbanj goes further to include Yoruba and Igbo (Igbo is used in the song Igwe). Further more the use of the talking drum has also fired up the Nigerian identity in the music. Dbanj’s deep voice and an almost talking vocal rendition also reminds one of Fela and Afro-beat. Though other instrumental elements of the songs cannot be tied to high life, juju or afro-beat, it is difficult to link them to other popular music genres from outside of the country. They thus represent his originality. Above all, the album conveys an intention to produce a record that is highly entertaining and the ability to accomplish this intention.

The album is also a confirmation that Dbanj has grown lyrically. There is always a message in every song as the lines of the lyrics are inter-related. The messages in successive songs are very distinct, demonstrating that they come spontaneously. It represents a strong mark of professionalism.

Highlife and juju music went comatose as a result of their inability to move simultaneously with a changing culture. While the culture was changing the music remained stationery, leading to an instance where people and the music failed to understand each other. Dbanj has finally proven that it is not too late to produce music that is Nigerian, highly acceptable at home and internationally.

With all these, one cannot help but agree with the fact that the artist is a master of his own style known as the Koko style. This stands him out as the colour of the Nigerian music industry and will remain so in our memories for a very long time.