These ones either didn’t pop, or failed to live up to expectations. Arranged from least to most tolerable.
5. 27 – Falz
Truth be told, Falz’s surprise third album, 27 isn’t bad. Describing it as so might just amount to giving a dog a bad name just to hang it. Disappointing may work better as the disc fails to expand on the promise the lawyer turned rapper showed on his debut record, Wazup Guy and actually delivered on with Stories That Touch, his excellent sophomore record. 27’s unimpressive monotonous sounds plays like it was recorded in a hurry with little thought to process.
4. Beloved – Korede Bello
Adult audiences may find themselves unmoved by the childishness of the entire affair. When Bello wants to stray and branch out into more adult sounding fare, as he does on Do Like That, he does it so innocently that it is almost negligible. Production work is handled naturally by the trio of Don Jazzy, Baby Fresh and Altims. None of them is particularly inspired and can you blame them, a chapter of classic Russian literature is more exciting than the Korede Bello brand as currently marketed.
3. Lagos Na Wa (Wobe Sound) – Olamide
By now complaints about Olamide’s records are so routine – released at the end of every year since 2014 as part of the promotional drive for his annual OLIC concert – they are almost cliché. But they exist for a reason and Lagos Na Wa, Olamide’s seventh solo studio effort is proof. Powered by lead single Wo, which was somewhat of a return to chart-topping form for the rapper, the disc had Olamide attempting to legitimise his new sound, a watery concoction that fails to be arresting enough to invite further contemplation.
2. King Don Come – D’Banj
With King Don Come, D’Banj tried (yet again) to command the attention of the home fans he once took for granted, and (once again,) does not quite succeed. At this point, what is left of D’Banj’s pop career has almost become sad to watch and hints of a certain kind of desperation. He still fancies himself durable property overseas and accommodates American Trap music sounds and South African rhythms and even strong cameos by current hitmakers Wande Coal and Harrysong fail to elevate the entire project. King Don Come is too much, yet too little.
1. Believe – Sugarboy
No one needs twenty-one tracks to sell a debut album. With Believe, Sugarboy appears to have been set up to fail as his particular brand of light reggae and dancehall isn’t quite as arresting and he lacks the presence- vocal or physical- to sustain interest in his brand. With Kiss Daniel’s departure from G-Worldwide, Sugarboy should be looking to step in as the label’s numero uno. It is hard to believe he can pull it off.
Do you agree?
The writer tweets from @drwill20