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| Pulpit Kwa Street Album Cover |
This album must have been the most talked about and anticipated album in the recent past, done by any local artist -let alone a local hiphop artist. The last time I witnessed such hype of an album was when Kanji Mbugua dropped Stories years back. Not even sauti sol’s album had such hype and anticipation (or is it me who wasn’t keen on the boy-band’s album?)
Pulpit Kwa Street had the endorsement of corporate big wigs and who is who in the Kenyan society. From Bob Collymore -the C.E.O of the most respected company, to top journalist Jeff Koinange of The Bench. The way in which the album was launched is something that has never been done by any Kenyan artist (blocking a city street for a live band backed concert, with a live coverage on national TV).
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| Juliani during the album launch |
Although this album review of Juliani’s Pulpit Kwa Street, comes a bit late owing to the fact that the album was released back on March 27th. It’s intended purpose is still fresh, mostly because the album’s popularity only soured days to the Sunday’s launch(barely a week ago), and also because very few reviewers, even the most experienced, would dare review a Juliani album and get it just right.
This sophomore album is not farfetched from what would be expected from the highly energetic lyrical genius, in terms of the high quality production, crazy punchlines, ironies, sarcasm and social commentary. It serves almost a continuation of its predecessor and Juliani’s debut ‘Mtaa Mentality’.
If I am to summarize Pulpit Kwa Strret in the least possible words it would be; An Old Testament’s Prophetic message in the modern day and time, full of reproach and hope in equal measures.
The album opens up with ‘Radio’, a Gitxx produced jam which starts with a voice that is almost a replica of Young Jeezy, saying “Mfalme Music, Gitxx”, here Juliani talks of his quest to reach to the masses educate and preach to them. Through a chorus sang by Juliani himself (this lyricist can actually sing), “Hio radio ni parliament yangu ina speaker/ kama arial na panda stage niweze skika”. He addresses the need to get out of poverty but not at the price of selling ones soul to the devil, making refrence to the likes of Jay Z, beyonce and D’banj.
Radio is followed by the now too familiar Bahasha ya Ocampo. This is a Homeboyz productishizzle and it surely deserved to be the 1st single of Pulpit Kwa Street. It is a song calling sinners back to God, blatantly attacking phony politicians who use public resources for their greedy interests and men who indulge in immorality, as he also questions the absence of courtesy in our society. It is here where Juliani reminds us where his power comes from with lines like “ wanatumia panadol kutibu H1N1/there’s none but One” and “Walivaa heels wakaribie heaven/nili bend knees, nika touch heaven” .
The chorus to this joint courtesy of the silky voice of Jaya makes reference social and political topics Finger of God and Ocampo’s list respectively, which have touched the tip of National headlines in the recent past, making the song even more interesting to listen to.
If released as a single, Ndani ama nje has the potential of joining other gospel Jams like jimmy Gait’s Furry furry dance as a club banger. With a bumpy beat that is easy on the feet, this joint produced by Babz of Underdawgs Records,(the very person who produced the smash Pages za Bible) takes over from where the DJ Sadiq and Alemba track left off. Here addresses the mirage that is seen as opportunity when one goes to Majuu (U.S), as well as the issue of homosexuality. He doesn’t shy away from counting his blessings on this ones with lines like “Niki angalia nyuma ka long’i za kriskross/tofauti iko, nilipo approach Kristo”
The fourth track Maskio is so far one of my favorites, it is a song targeting the faults that exist within the Christian community with no apology. This is one of the boldest joints and it is guaranteed to cause some discomfort.
Now you don’t name a track ‘Red, Black and Green’ and lace it with just any beats available. Juliani perfectly understands this, and he gets Wawesh (Mjanja) and DJ NRUFF together to bring you a sound you can only compare to DJ Primo’s beat. Beatbox, echoes, chants and DJ scratches are all combined to create this head-nodding beat that you could only hear on Radio during Nairaw days. ‘Red, Black and Green’ is an outright raw Hip-hop track that will make any Hip-hop head go bizarre. The lyrical content is pure socio-conscious and talks about necessary crime (i.e how the youth are forced by situations to engage in crime), but at the same time letting you know of the consequences of such actions. He tells the youth to shun idleness and get their hustle on. LISTEN TO THIS JOINT. DAMN!
The rest of the songs in the album including Niko Juu (Which is another track laced with a Hip-hop beat) follow suit in terms of production quality and the socio-Political conscious message. Juliani doesn’t do bad as a vocalist, but most definitely the feature vocalists Jaya, Nanjira and Celia Muya(all ladies) make him look not so good on the hooks.
For the longest time you’ve known him, Juliani comes across as many things, but not as an English speaker (you’ve even watched him on ‘The Bench’, Jeff Koinange struggling to have a conversation with him). Then he surprises us with ‘Kilami’ an all English track, that talks about tourists and expatriates from western land getting robbed-Julius Owino ka una soma hii, stick to Sheng’ na Swa baana. Despite his lyrical wittiness and the good work by producer Dillie of Homeboyz, the first time you listen to this track, you are likely to mistake Juliani to K-Denk (the Sudanese rep on TPF4).
Exponential Potential is a celebration of the calm after the storm (successes after struggle), a favorite theme for most Hip-hop emcees and rappers. Starting with the line ”Milioni toka ten bob, nilitoa wapi extra zeroes”, It is a song about accomplishment and ends with the lines “Hard work, get the best in life/get saved, get the best in death” to remind you of the afterlife.
This album from the commander in chief of the RBG REPUBLIK is a well crafted lyrical work. Juliani gets highly creative, and although he still ranks Kitu Sewer as the best Lyricist, he is quickly closing on him (Kitu sewer). Unlike Mtaa Mentality, here Juliani features no one on the verses, just as there was no curtain raiser on the launch, and takes full ownership of the project (perhaps a statement to say “Nimefika”.
Working with different producers was brilliant as it breaks the monotony and despite sticking his guards to Hip-hop, the wordsmith experiments with different sounds in terms of production. From an almost soft rock Bahasha ya ocampo beat, to the soulful Naumia and Mimi na Wewe(Which is purely poetic), and finally to a few tracks that samples Techno sound most notably the closing track Hio Ndio Swaga.
The themes are cluttered (for lack of a better word) in that, most tracks do not have an overriding subject and each of the songs touches on just about everything. The emphasis of his message however, is constant prayer to God and a rebuke of the numerous social and political ills that surround us as a people, and whereas a majority of listeners are likely to get lost in the wordplays, the message reveals itself with constant replays (thus giving you a new experience with every listen).
If the quality production of this record, had stuck to the good old Hip-hop, the album would’ve found home on the classic section of my albums cabinet. Non-the-less, this listener’s album is way above average and offers just a tinge of disappointment to the Hip-hop lover.
Personal Favorites
1. Bahasha ya Ocampo
2. Ndani ama nje
3. Masikio
4. Red, Black and Green
5. Friend Request
6. Mimi Na wewe
7. Exponential Potential
