Johnson Akínrìnadé Okùnadé

Category: African Music

  • ANALYSIS AND CRITICISM OF 2018 HEADIES NOMINATION

    ANALYSIS AND CRITICISM OF 2018 HEADIES NOMINATION

    The Headies award takes a new direction in 2018. It has been gaining more attention despite the disappointment faced when the event could not hold in March.  The nominations were released on April 13, 2018. Before I continue with the list review, I will commend this year’s award committee on their impartiality and professional instinct on ascertaining the nominees. This year’s nomination looks more improved from that of 2017.

    Note that, this write up is not prepared to reduce the credibility of the artistes but to address certain defaults of the list for better improvement in the coming years.
     
    The year in review for the nomination is from July, 2016 to December, 2017. One of the most important things for an award event is to strictly take the year in review into serious scrutiny and to pick works made during that period. ‘Kiltoris’ by Brymo was released officially on the 9th of May, 2016. Moreover, a track off the album, ‘Something good is happening’ was nominated in 2016 for best recording best vocal (male) of the year and best alternative song. The issue may seem minor but can cause lot of controversy from fans and music critics. To make things worse, ‘Klitoris’ album was nominated for best Pop/RnB at the 2016 edition. Should we call this an error or an overlook?
    Even the Headies award or most music outlets have not been able to critically decipher what ‘Alternative songs’ sound like. It seems any song put on airplay with the slow vibe is an alternative music. Some in Nigeria music entertainment consider it as music outside the regular pop sound. ‘Ponmile’ by Reminise does not have much of the alternative sound effect. ‘Ponmile’ has more of RnB elements. There has been much of the Alternative-RnB fusion that falls outside the Nigerian mainstream market and has been gaining wider recognition.

    As a Nigerian music fan, there has been a concern about the criteria used to judge next rated artiste. This award category has been vague for the past decade. Limiting promising acts with a debut album is discouraging and it is not a good way of improving promising acts musically. Some of the artistes nominated in the last award show have not been able to successfully create masterpiece albums within a calendar year and some have not made much effort in creating body of works but just singles.  If this criterion is followed strictly, there are few other artistes from the mainstream who have shown versatility and transition into the mainstream.  Maleek Berry is arguably beyond being a next rated because he started making music as a solo artiste in 2013 with his two EPs within the space of 4-5 years. This is actually relatable to what Odunsi and Nonso Amadi have done. These individuals have been able to portray their craftsmanship into making good music as young talents.
    Ajebutter22’s ‘What Happens in Lagos’ will probably be argued about on the inability of being nominated for the best rap album category. The album is a work of multiple genres and critics may place it as an ‘alternative sound’ but a major issue with this music genre is that it is not encompassing enough yet to stand as an album; it usually requires other genre to project out. This may be part of the reasons why it has not been considered as mainstream in Nigerian music industry. On the album, Ajebutter had so much content, wordplay, rhyme and a high sense of humour; but is it so eligible for a rap album? It is a NO. I won’t go into much details about this album but a rap work goes beyond the catchy lines you drop but how far your delivery as an Emcee.
    Read also: What Happens in Lagos album review: https://www.johnsonokunadea.com/2017/12/album-review-what-happens-in-lagos-by.html
    Kiss Daniel is a great and a promising act that is actually showing so much confidence and hardwork. He has been able to earn three categories but some of these songs are evidently placed in the wrong categories. An example is the Reggae/Dancehall in which ‘sofa’ has been nominated. Kiss Daniel’s music style from inception into the music industry has not been Reggae/Dancehall and ‘Sofa’ is nothing close to it. Neither did it carry on the elements of the new nor old school reggae or dancehall. Apart from this, the category is a great one with talented individuals.
    Categories created in Headies are to appreciate our great artistes but some totally go outside the natural meaning. Hip hop world revelation is an accolade from the initial name of the Headies award which was known as Hip hop World magazine. None of the artistes on this category make Hip hop genre, or something close. It is more convenient and wide, to give it a category name like ‘pop world revelation’. It is just a recommendation but my point is that this category name is far from the criteria itself. Still on this category, it is for a new artiste with a debut album adjudged to be outstanding. Mr Eazi’s ‘Lagos to Accra’ has been described by the artiste and music outlet as a mixtape and not an album. This is not a serious matter but artistes should try to distinguish their projects well like album, EP, mixtape, and soundtrack to limit the confusion among music fans.
    Shout out to Headies for recognising the icons in the entertainment industry like Kaffy and Chris Ubosi. These are part of the ways to make ‘A’ list and new artistes understand the massive influence that can be added to the music industry beyond making good music.
    The event is scheduled to hold on the 5th of May, 2018 at Eko Hotel&Suites.

     

    These are the nominees
     
    By Ogunleye Oluwakorede
    About Me  
    Ogunleye Oluwakorede writes majorly on entertainment, history and socio-economic matters. He has previously released works like album reviews and content information. He is also a music critic and analyst particularly on Nigerian music entertainment.
    Contact Me
    Instagram: omo_baba_ogunleye
    Snapchat: horluwakorex
    Twitter: horluwakorex_
    Whatsapp: 08144651530

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  • SOUND OF WIZARDRY IN BRYMO’S OSO ALBUM

    SOUND OF WIZARDRY IN BRYMO’S OSO ALBUM

    Olawale Ashimi better known as Brymo released his sixth studio album on 27th of March, 2018. ‘Oso’ is a follow up after work after of album. Brymo has proven over the past half-decade as an album artiste and most of his works have been packed with powerful messages. In an interview with PulseTv, he describes his music as afro fusion which is packed with different genres and he deeply paints his sound as alternative with elements of Rock.
    Just like all his previous albums, Oso album is a piece its own unique theme. Oso is based largely on research and it is the first album by Brymo to be mainly created on Piano. It is recorded in English, Pidgin English and Yoruba language. Oso (Wizardry) sets to be deeply satirical with a blend of love issues. Every track on the album has been written by Brymo himself with no collaboration. More importantly, Oso shares similar tracklist arrangement with his last four studio album which is the 11 tracklist style. He probably considers the number 11 as his lucky number. A die-hard fan will love to ask him about this format.

    ‘No be me’ is one of the tracks with hard core truth concerning political dispensation in our present society. He stands as an intermediary and message bearer of truth. His message points to every member of the society and admonishes individuals to stop putting the blame on each other.
    ‘Mama’ may not be the best ‘Mama titled song’ in Nigeria and it may seem quite surprising that it is the shortest track on the album. This particular track has been the most complex track on the album because Brymo seems to address different things as Mama. The word ‘Mama’ on this track serves as a symbolism to different spheres of life. It seems the track has been intentionally made short to make listeners fill the puzzle.
    The titled track ’Patience and Goodluck’ may prove a little sense of humour at first sight relation to the former president and his wife but reverse is the content of the song;
    ‘Some people know say the drug for sorrow na attitude’.
    He asserts that patience is key and the way to goodlife.
    Some of Brymo songs go beyond literary meaning. He does not use much of English vocabulary but his mix of words can make some of his songs sound a bit complex for ordinary music listeners. He is sincerely one of Nigerian music act to possess context prowess and vocal dexterity.
    ‘God is  in your mind’ sounds controversial but the idea behind the song is the existence of God in the lives of mankind.
    In few days, ‘Heya’ has been able to move to the height of being the lead single off the album after releasing a visual  portraying a cave man playing the Piano. It depicts a message of humans living in a modern life with shallow thought.

    ‘Olumo’ and ‘Olanrewaju’ serves as an appraisal to one of Nigerian’s greatest monument, ‘Olumo’ and the growth of a child to adulthood respectively.
    ‘Ba nuso’ is the last track on the album and it is undoubtly one of the best tracks on the album. This will be a good song to play for a Yoruba parent. It is plainly in Yoruba language and it translated into ‘Keep opinion to thy self’. The music sounds more indigenous than the previous tracks. It further has minor qualities of high life sound with simple chorus and irresistible chant.

    Brymo has been one of the criticised artistes in the Nigerian music industry over the years and this has not reduced his credibility as a great song writer. Some of his works is still been referred to as classics.
    The only setback in the album is the complexity of some of the tracks because some listeners may find it difficult to crack some of the literary devices used. The album would have been a complete work if it could be made more relatable.
    With all the assessment and criticism, the album has 7.4 out of 10

    By Ogunleye Oluwakorede
    About Me  
    Ogunleye Oluwakorede writes majorly on entertainment, history and
    socio-economic matters. He has previously released works like album reviews and
    content information. He is also a music critic and analyst particularly on
    Nigerian music entertainment.
    Contact Me
    Instagram: omo_baba_ogunleye
    Snapchat: horluwakorex
    Twitter: horluwakorex_
    Whatsapp: 08144651530

     


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  • FUJI, JUJU AND APALA MUSIC

    These are three close Nigerian genres of music that have found its root in the indigenous practice of the South-Western part of Nigeria. For a long time, there have been controversies over these three distinct sounds. One major thing listeners should understand is that these genres are interwoven basically because of its background alongside the artiste representing these genres. History made it known that these genres were created by Muslim Yorubas. The genres are of a secular nature which enables individuals to make more improvisation. For instance, when the Juju ace musician; King sunny Ade became the first to perform with pedal steel guitar to show more sense of dynamism.
    Among them all, Fuji sound has been more eccentric and has easily evolved with a form of fusion with other genre of music. It has been successfully able to mix with other genre with singles like Malaika’s ‘Boshenjo’ with Olamide or even Pasuma’s ‘Ife’ with Tiwa savage. Fuji music for the last two decade has been able to continue its commercial successive run and it has continued to be one of Nigeria’s finest sounds. Ayinde Barrister dubbed his own fuji style with the ‘fuji garbage’ in the 70’s. He sounded more relatable and fun to those outside the Muslim Yoruba culture.
    Apala is usually a percussion based style of music from the inception and the Apala sound is usually selective on the kind of musical instrument to be used. It is further believed to have a form of mythical power. A true representation of Apala music is the Haruna Ishola ‘Apala message’. The album is dominantly a form of chant with traditional percussion. The genre is so indigenous that some may even consider it as a Yoruba pop music.

    https://www.allmusic.com/album/apala-messenger-mw0000732529

    Apala music is swiftly finding its way into modernisation fused with other sounds with young and high potential artiste like Terry Apala, Q dot. Terry apala fusion with Hip hop as being so unique with singles like Modernise, Champagne shower, Palongo. It is so certain that pioneer artiste of Apala sound like Haruna Ishola and other honourable mentions will look down on these youngsters and smile just for upholding the culture.
    Basically, so many books and music analyst believe that Juju had a strong background in Afro-Caribbean melody in the early 1900’s. During this period, artistes were not reckoned with in the society and they usually performed in late evening for social gathering. Initially, it was not regarded to as ‘Juju’ but more identified with its dance step (asiko). Early Juju style was created by individuals like Tunde King.
    So much is to be said about Juju music but the new generation tend to lose interest in this style of music. Juju is also referred to as ‘JiJi’. There has been less form of dynamism from this genre in recent time and they have produced limited new artiste. In the 60’s -70’s, it was considered a world music and enjoyed great commercial advantage. Most Juju pioneer artistes are considered legends and icons but have they been able to successfully pass their legacy to the next generation?

    Juju artistes have made remarkable impact in Nigerian’s music industry. Shina peter’s Ace ‘Afro Juju Series 1(1989) went double platinum and it was the album that shot him into limelight. Juju artistes also had international collaboration from other parts of the world like Stevie Wonders collaboration with King Sunny Ade on ‘Aura’. KSA was also the first African to be nominated twice in Grammys. All these great achievements and few other honourable mentions were turning points in Nigerian pop sound. Most LP (album) delivered by Juju artiste in the era of the 60’s to the 80’s were true definition of African’s creativity in the music culture.

    These three musical styles have been formed from a socio-religious background and are able to reach the height of mainstream standard. Will these great genres continue to prove relevant for generations to come? That is for you to decide.
    You might say Hell Yea or Say F*#k No. Give your opinion in the comment section below.

    References
    https://en.wikipedia.org/wiki/Shina_Peters

    https://en.wikipedia.org/wiki/J%C3%B9j%C3%BA_music

    https://en.wikipedia.org/wiki/J%C3%B9j%C3%BA_music

    https://www.jstor.org/stable/1214743

    By Ogunleye Oluwakorede
    About Me  
    Ogunleye Oluwakorede writes majorly on entertainment, history and
    socio-economic matters. He has previously released works like album reviews and
    content information. He is also a music critic and analyst particularly on
    Nigerian music entertainment.
    Contact Me
    Instagram: omo_baba_ogunleye
    Snapchat: horluwakorex
    Twitter: horluwakorex_
    Whatsapp: 08144651530

    The BEST way to support us is by providing funding to enable us continue this good work:

    Bank: Guarantee Trust Bank (GTBank)
    Account Name: Johnson Okunade
    Naira Account: 0802091793
    Dollar Account: 0802091803
    Pounds Account: 0802091810
    Euro Account: 0802091827

    Business Email — hello@johnsonokunade.com

  • WHERE NIGERIAN HIP HOP WENT WRONG

    WHERE NIGERIAN HIP HOP WENT WRONG

    Major media outlets have not been able to tackle the few setbacks of the Nigeria Hip hop. Some just focus more on the good music these Artiste produce but the question we should mainly ask about the Nigerian Hip hop is; do we still have talented and real Hip hop artiste in this country?
    Growing Hip hop artistes blame fans for their change from Hip hop sound but I have personally seen this excuse as a messy and silly one. Things have gone so wrong that fans can’t see any difference between Hip hop and other music genre. No Artiste can force a particular fan base to adapt to one’s music style but you can make listeners love your music just for the passion you put in your work. Building a fan base does not just happen within a short time except one goes through dubious ways. It requires hard work, commitment and diligence to develop this. Artiste should learn how to leverage more on the few fans they are building so as to expand further to other fans who may find little interest in their music.
    Hip hop genre basically has not been a music from the African tradition even though it still has little element of African music and it may seem difficult to imbibe in average African’s heart. I can clearly relate this to the inception of the English men in some African nations. The English language has never been a culture of the African community but the English were able to imbibe a foreign culture into the minds of individuals by also adapting to a tradition that is not theirs. This phenomenon was a slow and gradual and it has become something that may be impossible to expunge in some African nations. In relation to this short example cited, Hip hop should be a culture that listeners love and it is not with compulsion but it should be something that runs in a society’s life activity. Hip hop is predominantly more than a genre but a culture. It applies to different spheres of a society’s life. You cannot lure teenagers in your song about drug addiction and smoking in an African community like Nigeria and expect individuals particularly adults to love your music. One of the main reasons for Nigerian Hip hop stagnation is that few Hip hop artistes have not been able to crack the minds of the majority listeners and give out what these listeners want to hear. Importantly, there has not been a unanimous opinion on what Nigerian listeners are interested in.
    SHOUT OUT!! To M.I for the wakeup call directed towards all rappers in the country. It has come to my observation that we rarely have quality rap album in the last years. It is high time one made things clear: so many rapper are not able to uphold the Hip hop culture. Every artiste wants to be complimented but very few Artistes shy away from critics.
    Most genre of music in the world never got its popularity with ease. Hip hop made its emergence in the lives of the Black-American boys in the 70’s but it became a mainstream music in the mid and late 90’s.This is more than 20 years of commitment and these guys were doing this for the culture. Also, the RnB genre started immensely between the 60’s & 70’s. It went through series of evolution ranging from soul, funk, disco but the genre became more impactful in the 80’s. Relating this scenario back to Nigeria, Hip hop also started from the streets of Lagos in the early 2000’s with young boys showing their Emcee skills and it has been nearly 18 years and we are still waiting for something massive to happen. My attention was drawn to a particular line M.I gave in his ‘’You Rapper should fix up your life’’ single: /Once you blow up you switching up/ That’s why these fans are not feeling y’all/. There is more to this line than just rhyme or literary application. It is so evident that most rappers are majorly interested in the bars (money) and not the bar (music) and this has shifted them from the initial motive. There is no doubt that the media outlet produce young and talented rappers and we have seen it in some cyphers, internet short videos and many more but how can these talented Artistes be promoted? There has been no Hip hop record label that has been able to spend at least more than 10 years making good music and signing talented rappers. We are majorly familiar with labels of other genre of music and there has been limited promotion for young rappers. The lack of all these is enough for an Artiste to switch sound.
    It has become so evident that most top Hip hop artistes have not been able to collectively pass a legacy to younger generation of talented Hip hop stars. You don’t encourage younger generations by just releasing your own hit records or freestyle session. You sit some of these guys down speaking the hard core truth about Hip hop and most of all, encouraging them by having few studio sessions.
    The question of ‘’who to blame?’’ is not of necessity. In my view, the media, fans, artiste any other related music consumer can try pushing a music genre like this by offering the best and upholding the truth and fact. The media should learn how to correct flaws constructively and compliment great works. All these, particularly, compliments are what inspires an Artiste to get better. The music industry should get to a stage of maturity whereby most artistes will show realness. Those who built the music industry we enjoy today gave their best through hard work and endurance and that is what makes an icon. Rapper should not only fix up their live, they should also fix up young Hip hop stars.

     

    By Ogunleye Oluwakorede
    About Me  
    Ogunleye Oluwakorede writes majorly on
    entertainment, history and socio-economic matters. He has previously released
    works like album reviews and content information. He is also a music critic and
    analyst particularly on Nigerian music entertainment.
    Contact Me
    Instagram: omo_baba_ogunleye
    Snapchat: horluwakorex
    Twitter: horluwakorex_
    Whatsapp: 08144651530

     

  • NIGERIAN HIP HOP AND AFRO-POP

    It seems Nigerian music listeners and the media over the years have not been able to understand the clear distinction between the Hip hop and afro-pop genre. Basically, these two genres have different root and content. In order to understand the difference between these two genres, one has to be able to give its clear background, few Artistes and its content. The Afro pop is more of the Indigenous sound and it usually in simple and interesting beat in which most Africans can dance and relate with. One can’t really give the specific creator of Afro pop but this music has been sung and performed as far as the existence of African music and has turned into part of our culture. Some analysts believe that it evolved from Fela’s style of afro beat. For decades, it has been recognised as African Tradition music but top African Artiste looked for a better way of repackaging their sound and making it sound more understandable to the new Africa and even beyond the continent. The genre has evolved to an era where foreign languages are fused to African sound and beat. Drake and Wizkid has shown that in ‘’One dance’’ bringing in different sounds and making it a single product. It is so ironical how the African pop style has influenced genres like the Caribbean music in the years.
    Hip hop made its own root among Young Black American boys who were using it as a powerful medium of protest against some irresponsible act by the government particularly the Police. Hip hop has been so interesting especially among Black folks that more creative actions were introduced into it like Rap, Break dance, Graffiti, Djing percussion and few honourable mentions. The act of Emceeing (also rapping) requires use of rhyme, rhythm, figurative expression in accompaniment with the beat in African-American way. One cannot over emphasize the element of African sound in Hip hop. Later on in the 90’s, fans still wanted more from the Hip hop sound and we witnessed style like Gangster Rap with the likes of the Tupaq, Ice Cube, Eazy E; the Emo rap(based on emotion), Trap and many more. The bottom line to all these is that every region of the world has its own rap style and uniqueness. Take for example, the kind of United Kingdom Hip hop sound is more of the grime/dub style influenced by Jamaican migrant. If you listen to guys the likes of Stormzy, Skepta, Giggs; they are Hip hop Artiste but is more of the grime sound. 

    Basically, Nigerians don’t do the grime style at all but a recent Nigerian song that has the element of grime for better understanding is Dj consequence and Ycee ‘’In a Benz’’ single. Just in the case of Grime and Hip hop, the Afro popular has also adopted the Hip hop sound and generated itself into a world class music. Just like the slight overlap in RnB and Rap, there has also been the same situation in Afro pop and Hip hop. These two important sounds have different cultures and the difference which can be noticeable. While Hip hop deals with the cypher, the Breakdance, Graffiti; the Afro pop will deal with the indigenous dance, the drum beat and Cultural values in music videos sometimes. Even with all these, there has still been limited difference between these two genres in the ears of some Nigerian music lover. Over a decade, we have seen some Hip hop Artiste transcend into the Afro pop sound, making Hip hop sociable even for everyone on the Street and we have happily accepted such tracks like M.I’s ‘’Bullion Van’’, Olamide’s ‘’Durosoke’’,Phyno’s ‘’Abulo’’ and countless more.  In relation to what I stated at the early stage of the write-up that Hip hop, especially, Rap contains rhythm, rhyme, play of words, lyrical content and more importantly, a message. Hip hop does not give a precise format like if there should be a chorus or be a particular beat to follow, NO!!…..It specifically wants artiste to express their clear mind to listeners in words and the best way of doing that is by serving listeners with the style they want to listen to.

     

    Nigerian Hip hop became mainstream during the early 2000’s and was used to treat satirical issues during this period in the country with few honourable mentions like Mode 9, Ruggedman, Shasha, Terry tha Rapman. It was believed that anything hit track released by any secular artiste during that period is Hip hop; funny right? It is just like seeing 2004 2face’s ‘’Face 2 Face’’ album and calling it Hip hop album even though he applies some slight Hip hop elements in his work. It has become so evident that Hip hop and Afro pop are genres that work together in the Nigerian music industry but listeners need to learn best on how to decipher between the genres. Afro pop is a culture, Hip hop is another culture; two different sound mix to make a united sound even in African music.

    By Ogunleye Oluwakorede
    About Me  
    Ogunleye Oluwakorede writes majorly on entertainment, history and socio-economic matters. He has previously released works like album reviews and content information. He is also a music critic and analyst particularly on Nigerian music entertainment.
    Contact Me
    Instagram: omo_baba_ogunleye
    Snapchat: horluwakorex
    Twitter: horluwakorex_
    Whatsapp: 08144651530

  • WHAT IS GOOD MUSIC?

                                                            

      I really don’t have a
    clear definition for what ‘’Good music’’ is precisely about because this strong
    tool can only be made clear to individual listeners. Everyone sees or feels
    music in different ways. I will point out few ideologies of ‘’Good music’’ and
    there will be some scrutiny on these ideologies.

    The question of ‘’what good
    music really is?’’ was asked by a friend of mine and it has drawn my attention
    to tackling this question. He saw ‘’Good music’’ as something with effective lyrical
    content. This is a good point of view but there have been songs that have used
    foul languages to give positive change. Let me break it down this way: Gangster
    Rap singles like in the late 90’s used obscure lyrics and bad video content to
    call for the attention of American government on the issue of racism and
    Anti-slavery. Merely using the name ‘’Gangster’’ can clearly address what I am
    driving at. It is widely believed that ‘’there is sense in nonsense’’. The
    nonsense of Rap music widely described by the majority of white in the 90’s has
    become a tool of revolution today. Even in African popular music, the legend,
    Fela Kuti does not actually possess much of poetic or literary application but
    he has been able to use inanimate substance to symbolise socio-economic change.
    Nigerian Music icon, Lagbaja jokingly uses funny object to direct social change
    and lyrical repetition to emphasize political change. Good music goes beyond
    solid lyrics but how far these lyrics can affect the listener and his surroundings.
    A genre of music has a lot
    to do with content. Every music kind has its own soul and message. In essence,
    most RnB Artiste goes with content of love, heartbreak, hope and other related
    content. Afro pop will majorly give the drumbeat, beauty and pride. Reggae will
    always give hope, strength, and freedom. Some of the few instances I have given
    have gone through lots of experiences and their root has always been founded on
    these traits. Moreover, most listeners have a genre or genres that may seem
    appealing.
    A ‘’Good
    music’’ can also have the ability to stay evergreen. Some listeners believe
    that ‘’Good music’’ has this particular trait. What actually makes a song stay
    evergreen is usually the intention of the message-bearer. Music is so powerful
    that your works today can cause a remarkable impact for generations even after
    death. Something spectacular usually makes music impactful for many years. It
    may not even be anything relating to Artiste message. It can be something special
    about the video or the effectiveness of such song during that period. Don’t get
    it twisted, this thought on ‘’Good music’’ is a great one but not solid enough
    because some ever green music still have a period where the shelf life will
    deteriorate.
    Appealing and irresistible
    beat may likely make a ‘’Good music’’ but what about great songs that did not
    bother much on fascinating beat. Some are even accompanied with acoustic guitar
    and Piano. Great music symphony icons like Beethoven, Mozart did stress much
    majorly on rhythm, strong Orchestra and powerful opera singers.
    Basically, it is generally
    believed that music is the combination of multiple elements of sounds that
    sounds pleasing to the ear. I still doubt if this general belief on music
    affects the phenomenon, ‘’Good music’’. Some deep readers believe that playing
    music while reading can be a bit distracting and may not be needed at that
    particular time. A good opera track can seem disturbing in a beer parlour.
    Tuface ‘’African Queen’’ may not be appreciated or pleasing to a congregation
    if played in a church. A ‘’Good music’’ can still be turned down in line with
    an individual’s mood and atmosphere.
    A music listener even
    pointed out some key things about ‘’Good music’’ based on his thought. He puts
    it in these words ‘’A good music becomes good when you immerse into it; something
    that lifts up your spirit, a tool that makes you forget all worries and gives
    you goose bumps’’. This ideology is an interesting one but a bit controversial.
    I raised some questions from this ideology like: ‘’Does good music lift the
    soul always?’’, Does it relieve you off all worries?’’.
    Every music has its own
    soul and every listener tunes his mind to feel this soul. When the soul is
    lifted, does it edify the soul or give bad effect to such listeners and his
    environ? It is no doubt music influences most listeners’ lifestyle, for example;
    violent music has exposed so many youths to homicide acts even at a young age.
    If ‘’Good music’’ relieves
    listeners of all worries, I wonder why we have music that still gives us memory
    of bad experiences or music that shows emotions of heartbreak and many more
    like that
    Good voice draws the
    attention of listener but with music evolution over the years, it is likely not
    a good determinant of ‘’Good music’’. Music professionals like ‘’Yanni’’
    involves majorly musical instrument in his own works with limited voice
    participation. With the instance given, musical instrument can serve as a
    source of inspiration.
    I agree with almost every
    idea I have come across lately, but I think there is still a vacuum in all
    these definitions that needs to be blocked. It is evident that every single
    individual’s perspective on ‘’Good music’’ is a subjective view but it needs to
    be reconsidered and redefined by individual listener.
     
    By Ogunleye Oluwakorede
    About Me  
    Ogunleye Oluwakorede writes majorly on entertainment, history and socio-economic matters. He has previously released works like album reviews and content information. He is also a music critic and analyst particularly on Nigerian music entertainment.
    Contact Me
    Instagram: omo_baba_ogunleye
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