In terms of style and delivery AKA is almost synonymous with Jay Z in that their familiar rap patterns let you know that this track is about to be amazing. Meanwhile Drake has developed his own sound within Young Money under Lil Wayne and with a similar connotation to the naming of the tracks we can see that Thank me Now would be just as effective as Congratulate me. In Congratulate me AKA has to take the time to congratulate himself for how far he’s made since he started, Meanwhile, Drake in thank me now comes of as a little more cocky and prepared, thanking the listener directly and giving them ample opportunity to thank him for a song well done. While the topics are very similar, as previously dictated in the post, the way they give permission to give them thanks and a pat on the back for a job well done, couldn’t be any more different in their delivery. “Hold your applause, this is your song, not mine,” “On the bed, on the floor, now congratulate me.” The songs are also a critical look at self from Drake and AKA analyzing the lives that they lead up to this point in their respective careers. As can be expected of any performance art there are times that an artist can perform in front of 40 people or 400 people either way they need to perform as if they’ve packed out Maddison Square Garden. There is also the process of becoming a household name which takes not only time but proper preparation and relationships. Now that AKA can be heard on the radio as well as Drake, at least in the context of this post, you can feel the similar motif which is simply support and congratulate both artist on a job well done.
This post is dedicated to the comparison of two talented female emcees, from two different countries that share a first name. Nadia Nakai and Nadia Rose both speak on the fact that no one can step to them, whether lyrically or otherwise. With upbeat rhythms and fast rap patterns one could definitely draw a comparison between their styles of delivery and topic choice, however the visuals to accompany the video could not be more different. Nakai brought the b-girl aspect of hip hop to her video, whereas Rose’s Station is literally at a train station saying that she has the go. Station starts with a uptempo boom-bap pattern beat, and a song that would leave you understanding that she won’t be in the same position, space or even place as she is always on the go. Meanwhile, you cannot forget Nadia Nakai, nor can you get close to have the relentless flow that she professes to use throughout the track. Typical in Nakai fashion Nadia flaunts what she has and challenges anyone who thinks that they can step to her about it.
Meanwhile, Nadia Rose calls out fans who talk about her as if she wont talk about it to their face, and when they do reply they want to keep up and if it weren’t obvious at this point, they cannot. Even down to the more specifics of the beats that they decided to use for the songs are tough, as Nakai’s beat for Like Me sounds like a Swiss beats classic and, Rose’s beat selection sounded like a Neptune’s sound. The overall message trying to be conveyed as previously mentioned is that you cant step to these talented ladies with anything short of amazing. Both Femcees also defy the standard representation of what’s ladylike for an emcee, with the overaggressive crumping in Like Me, and to the aggressive styles in which she tells you that you can’t see her in Station.
Bearing a upbeat boom-bap style Make you No Forget starts with an infectious, head-bopping beat and a hard hitting rhythm. Shortly after the song begins Blitz brings us in with the chorus, “Police Corruption, they steal the election, brutality my brothers don’t get no option, thats why you don’t forget where you come from.” The verse then expands on the concepts of police corruption and how the kids of Ghana back in the 1990’s were worried if they were going to grow up or not. Also, what made it hard to forget where you’re from were the myriad of 90’s references to tv shows, and consequently ended up referring to Roger Milla, famous Cameroonian soccer player, bringing where he was from to the 1990 World cup with his signature celebratory dance, or better yet referring to Ivory Coast goalkeeper Alain Gouaméné stopping Ghana from winning the 1992 African cup of Nations with an amazing save, which Ghanaians attributed to the use of JuJu. Starting the next part of the chorus Blitz says that “As the weather gets hot, and the cops get hungry for busting people, we still harbor resentment towards them, whether they like it or not. Next verse brings you in with the kids from the first verse all grown up. They reminisce about the Motown, where they went to school, Gari and Shito, which was a snack spread that was popular in the 90s that got them through, Night clubs for Osu, where they went to party with the wrong attire and subsequently wasted time going back home to change to get in, only to realize that they should have just stayed home because of the rich kids hanging around getting the attention of the party’s female populous. In short, the song won’t let you forget where your from because neither will the world, and in the song he is nostalgically reminiscing over the days of his youth.
Today on The Hip-Hop African Blog we analyze the comparison between Nigerian rapper Davido’s song “Coolest kid in Africa” featuring, awesome, South African rapper Nasty C and Kenyan pop singer/rapper Stella Mwangi’s song “Koolio.” Both songs are exciting and begin with catchy beats, however, where Davido’s “Coolest kid in Africa” starts low and slow, with heavy bass and a sick trap beat drop, Stella’s “Koolio” picks up the pace with a faster electro-hop beat that is reminiscent of Pitbull’s I” I Know You Want Me.”
In Davido’s song “ Coolest kid in Africa” he describes that the reasons that he is the coolest are that he is both rich and connected, has enough money to change your life, if you let him, and because of the amount of women who choose to accompany him wherever he goes. Whereas, Stella in “Koolio” describes her “Koolness” as a product of her awesome life, which you should already know about, because of her gangsta style, though she does profess to not be a gangsta. Additionally, she suggests that you should not try to hinder her style or movements, because she keeps her Kool cooler that Coolio, which is not only a metaphor for being the pinnacle of coolness, but also a reference to famous 90’s Hip Hop Artist Coolio, who was known for not only his Coolness but his gangsta lifestyle, point of reference “Gangsta’s Paradise.”
The biggest comparison between the two can be found in Nasty C’s verse on the “Coolest kid in Africa” which connects the party vibe of knowing how cool he is, much like how Stella professes her coolness as a fact before the song, to the concept of finding out how cool he is like Davido suggests throughout the song. Two braggadocio songs professing to how cool the other is based on previous memory of their exploits.
A look at hip hop in South Africa and in the United States.