Agano Jipya: Don't Judge!!!

After being in the game for 10 years, Agano the one half of Wakamba Wawili returns after  2 years hiatus, with a debut album which will have street talking for years. The album 'Usini-judge' promises  to be one of the most  prolific albums, if the Pre-album is anything to go by, the pre-album is already out,  get a copy to get the insight of what I mean, DaKicker's Chris Prodigy had a privilege to have  a chitchat with Agano and this is how it went down. 

To the people  out there, who’s Agano?

Agano is a simple guy , down to earth. People  have the perception  that Agano  is  not  amiable, because  of the hardcore music I put out, but  I’m approachable and I’m open minded when it comes to music as long s it makes sense.

 You are doing your thing, Labala is doing his thing, are you guys planning to reunite for another album or have you guys decided to pursue solo careers?

It’s not like there is bad blood between me and Labala, Wakamba Wawili is still intact  in fact we  are planning to do a follow up to Tumesurvive kila vita, called  'Tumesurvive  Sio  Issue' ,  to add on that me and Labala  we’re like brothers.

You first came to limelight with the song “Fanya Tena” which also featured Juliani and Kitusewer how did that track mould you as an artist?

 The track gave me courage to visit the studio; it also made me more confident.

Your Lyrics are mature, assertive and street oriented, why do you think you don’t get the props you deserve, compared to artistes you clearly outclass?

 I don’t blame the  media,  I think  I’m  the one not really pushing my music,  Coz most of the times I’m indulged to other ventures  outside music, I’ve  joined forces with  other like-minded individuals and soon we’ll form a company which will be managing artists, I’ll be one of  the artists who will be managed, hence this will make it easier to  push my music.

What artists inspired you to become involved with Hip-hop?

Kalamashaka, Wu-Tang, Red & Methodman.

What’s your favorite album of all time?

Ready to die, Black out 1 & 2.

After being in the game for like 10yrs, how has your approach to making music changes?

I tend to self- educate  myself through reading books,  hence my lyrics  also have that intellectual side, also compared to the past where I used to write lyrics, nowadays I just listen to the track  and come up with like 4 bars,  than another  4 bars  and before you know it , the song is complete. 

The rap game has changed a lot in the last ten years, do you approve of what you see today as opposed to when you first started your career?

I  appreciate the change,  I don’t have the problem  with music artists  put out there whether it’s Genge or  any other genre of music as long as it’s good music, at the end of the day it’s all love.

Edu-Tainment (laughing) does it mean the album will have education and entertainment value?

Yep, the album will combine both entertainment and educational value, it will encompass both aspects.

How would you say this album is different from your previous releases?

First of all Labala will not feature on the album,  I have grown a lot since  our last album Tumesurvive Kila Vita. 

What is one thing  you want people  to understand about you as an artist and also, what do you want people to take away from  your upcoming  album ?

Basically the album will be the reflection of the title “ Usini- Judge”, in other words I’m doing my thing.

You’ve been in the game for more than a minute, are you involved with any side  businesses outside being an mc ?

I’m involved in various business ventures including running a cologne shop, designing aquariums and other businesses on the same spectrum.

Not sure if anyone has ever asked you this, but what would be Agano doing right now, if he never became a rapper?

 I would be a  Businessman.

What can Agano supporters expect with your debut album?

Expect a frank album,  I know some people will consider me  a snitch , but  if addressing the system  vices will earn me the title of a snitch I don’t care,  at the end of the day “ sisi ndio kioo cha jamii”, there will be no  water down stuff, people should  also expect grown up music, “Muziki imeenda shule”,  (laughing)  in other words Edu- Tainment. This album the lyrics are more mature, much better and well written and also the design is more enhanced.

With the likes of Octopizzo, Rabbit dominating the airwaves, do you feel threatened that your album might get lukewarm reception ?

(Assertive) Every dog has it’s day there  was a time when we were dominating the airwaves, It’s their day and  I have nothing  but love for them no jealousy tendencies, it’s all love, But do not expect me to change with the times to fit at the end of the day it’s my thing and I will not compromise or  let people’s  perception affect me. You  know some artists  try to change with the times  just to fit  in the process they compromise  originality, but  I’ll be true to me.

As far as music goes, where do you see yourself 5 yrs from now?

Every year I’m planning to be dropping a new album, outside music five years from now my business venture  will be more expanded, I’ll probably  be having kids (laughing).

(Laughing ) a  follow up to the previous question is Agano  seeing someone?

Agano is very much single, looking for the right  one (jokingly)  if you are out there  I’m looking for you my Cleopatra you better hurry.

 Will the album  feature any artists?

 The album features Roba of K-shaka, Cedric  of Tpf 1, Judge (Black duo) and other artists, thus the album will be diversified “ yaani iko na flavor zote”,  but  I would like to assure my fans that the album will be still real , the album will also portray the real Agano,  you know some people have the perception that  I’m all street and hardcore, but the album has deep tracks, tracks that  showcase the  sentimental side of Agano and to all my street fans  there’s also something for you , in other words the album is all round, but all in all it’s still real.

When is the album expected to hit the street ?

December, but  as for now the pre-album is out it features 6 tracks, the pre-album  goes for around 200, for more information you can reach me on face book or twitter.

When you and Labala released Tumesurvive  Kila Vita, you were an household name, but one thing that stands out about you is that you didn’t let the status  get into your head, you were still a humble down to earth guy, what made you not to follow the direction  most artists follow as in being carried away  by their star status?

First of all I’m human and we’re all equal before God, it doesn’t matter if you are a star or an ordinary  person in the eyes of God there’s no one superior and I also believe it’s good to give back the much love you get, leave the status behind be human  and down to earth. You know personally  I usually don’t let  star status  define me, coz the star is not the real Agano it’s the image and I prefer people  knowing me as a person  devoid of the  status, so when we meet in streets feel free  to holler  and get to know the real Agano.

Closing Remarks?

If you want something  go get it, be a go getter, Always think positive and be happy coz life is too short and don’t die if you haven’t accomplished what you want in life.

DON’T SKIM THROUGH IT, LISTEN!!!

When I mention hiphop what pops into your head? a b*tch with a thick A%$%,  a dope fiend , an illiterate nigga spittin  about  how many chicks he has boned, the imaginary Bimas and Benzes he has drove,  if this is what  goes through your mind when hiphop  is mentioned then you are suffering  from misconception  syndrome.

Before  I go on who is your favorite Hiphop artist  mmmh!!!!!, I don’t have to rattle my brain cells , I can confidently say without flinching  that you vibe to  the Lils and the soldier boys and that’s  why  when it comes  to  hiphop  concepts you are lil young. Ever had of Rakim, Nas, Tupac, Krs one, Public Enemy? Ooops!!! I’m speaking Arabic. But I don’t blame  you I blame the media for being the propagators  of the  trash, hence you are brainwashed that  life revolves  around the bubblegum  music which is played on radio,  the music videos  with video vixens under-dressed and artists  vibing to that predictable, preschool n monotonous ish of  b*ches, blunts and niggas assuming imaginary gangsta personas.

The most ridiculous thing is what I have stated above has become the trademark of hiphop, hence hiphop has been portrayed by critics as the paragon of immorality and the catalyst of moral decay. One critic argued that hiphop is “devoid of intellectual value”. The critic used artists like lil Wayne, Souljah boy, Gucci mane and artists who express the same sentiments as his basis to vilify Hiphop.

This is what I call being mentally anorexic afraid of feeding your mind. It makes me wonder do the Anti hiphop crusaders really listen to real hiphop music or do they just skim through it.

Real hiphop can be likened to the modern day Bible. I can envisage the priests and evangelists and member of the church bodies running their mouths trying to make this article illegal, but chill before you start pointing fingers. 

Hiphop is the language of the youths, the book of survival, the epitome of morality, the hope for the poor, the foundation of the less privileged and the book which encompasses the practical lessons of life. Many times there’s being a correlation between hiphop and the vices in the society-thanks to the media and the knowledge malnourished critics. 

It’s high time we say NO to the garbage played by the radio stations, I think it’s time to show love to the real stuff: Instead of seeing young girls giving birth to babies, I’d rather see a young girl grow up to a young lady mentally rich who relies on her brains not her beauty to excel. Instead of seeing young boys snatching purse and using a nine, and investing the loot on crack and cheap liquor, I’d rather see a young boy grow up to be a real man using his mind as the weapon to topple life obstacles. 

The solution is not using bullets. The solution is not entirely on the contraceptives, maybe I’m a dreamer, but I think real hiphop should be introduced to the school curriculum, maybe the society is beyond help, but I believe hiphop can play a subtle role in reviving the glimpse of the once beautiful society, as the saying goes “the journey of a million miles starts with one step”. Instead of burying hiphop into oblivion let’s give real hiphop a chance. 

Back to the die hard hiphop critics, Listen to the 90s stuff, listen to Pac, KRS- One, Wu-Tang Clan, Lauryn Hill, Gangstarr…Listen! Don’t skim and maybe we can trade mental jabs. Before I sign out I would like to live you with these lines by Jigga“They say I only talk about jewels blingbling, do you fools listen to music or do you just skim through it?”

The Power of a Gal: Lness Launches her album

By Nasta

The calendar reads Saturday 21^st day of July 2012, the time is around half past 7pm, according to my estimate. Together with Dakika Media’s VO, we are on our way to the YMCA studios to have a brief with the DaKicker crew on how best to cover the Lness' Gal Power album launch.

We pass by the venue-Goethe Institute and as expected the event that was scheduled to start at 7pm has only a handful of souls. Ask GQ’seditor Andy Moris, and he’ll tell you it is “Hiphop Time”. The sound and light engineers are busy making sure that everything is in order, and truth be told their output is turning out to be quite commendable.

Kick a few minutes off,  and it is now quarter past eight when we make our way into the venue. Jefro of the Madlove fam has just finished praying. In the house are some of Hiphop’s respectable emcees who include Oksyde , Ekori, and Gandhi Blaka.  The DJ is busy mixing everything that is quality upbeat hiphop-mostly from the 90s. A few names are dropped and their bearers jump to the stage for some cipher session, amongst them being SoReal and Jefro. Despite the latter being gospel, he manages to drop some tight verses on Gangsta rap instrumentals, all in the glory of God’s Kingdom.

MC for the night is Pepe Haze and he does some good work keeping the audience engaged. The curtain raisers include Monaja, Radii, K47 and a host of others who have all showed up, to show nothing but love. It is now 9pm, and the energy inside the fairly small auditorium is to the roof top, but so is the heat and low is the circulation of air. 

We decide to step out for a breath of fresh air and while there,  we get to see even more familiar faces amongst them Washamba wenza, Khaligragh Jones (who had been hosted on Hot96 earlier in the day), Shaky, and a few members of the head bangaz clique-who stream out to welcome their defacto leader Kimya. 

Their activities cause quite a stir and after a few photo sessions, they go inside the auditorium. By this time there is more action on the outside than there is on the inside. VO walks to the event’s magnet, non other than Lness herself, who by this time is seated at the contact desk together with his son Paul and daughter Subira. VO proceeds to tell Lness that she is the night’s pied piper, and if she walked into the auditorium, everyone seated and standing out would follow into her footsteps. 

Before they can finish up with their brief conversation, the sound of Kimya dropping his classic Maliza Njaa, draws everyone who had stepped out back inside.

Finally the moment that for long had been waited for dawns, and Lness clutches the MIC after a meticulous intro by Pepe Haze. Everyone is looking all round like Maasai men from Rongai, trying to figure out where the Lioness is. With a mic gripped on her left hand, she emerges from the back of the crowd dressed in an almost all red everything. The crowed cheers as the Queen of Hiphop-since Nazizi went Reggae and STL techno-takes to the stage roaring with vicious rhymes that symbolizes a Hiphop emcee who has truly come of age.

She spits rhyme after rhyme, line after line, verse after verse, and track after track, much to the pleasure of those in attendance. In between her performances are appearances by featured artists amongst them Radii and K47, but the crowning moment comes when her Lion, the ever energetic His honor J.U.D.G.E  steps to the stage to help his queen tear down the party with the 2004/2005 classic hit Msanii, which was featured on Ukoo Flanii Mau Mau’s  Kilio Cha Haki album.

While holding the crowd’s attention like a gavel, and showing total disregard of any appeals to take it slow, the unforgiving judge pounces the frenzy filled crowd back into time, when he calls Shaky(Mandugu Digi) into the stage to drop one of the best Hiphop records to ever emerge from Kenya.

On realizing that we might just be tempted to party with Lness and her team all night, we decide to call it night.

Despite being an absolutely amazing show, it was saddening to see a few rappers, who presumably were not on the performance list, pestering the DJ and the MC to slot them in.

Follow us: @TheNasta

                 @DakikaMedia

Around Nairobi.

By Vo.

Recently luck luster music has surrounded the atmosphere and a sought of dead passion engulfed my love for the reason I color my world. Man, Kenyan music sucks!!!!!!!! I can’t stand the radio. Am sorry but I shun 1 FM from my radio frequency like the same reason they bury corpses at the cemetery let Kenyan music be there.

But that was until I ran into ‘Oksyde & Sudough – Nairobi rappers’. They sparked interest. The boys tell of the epic tale about the city of Nairobi and the taste they savor from the music that defines their world.  

I recommend this to every one that suffers from a deficiency in their music, a prescription suited to remedy that spark into their life, believe me it works. A dose of the duos song every morning and evening is meant to keep you on a reasonable music high.

Trust; justlisten……….. “Oksyde & Sudough – Nairobi rappers”

Hiphop's Prodigal Sons

By Nasta
This post is about those musical  acts who would have been Hip-hop sons but got away for one reason or the other, we call them prodigal sons coz we believe that one day, just like the proverbial Jewish kid  they’ll return to our hiphop hut. 

Nyashisnki

Nyash the former Klepto member is arguably the best talent Ogopa has ever had to present if you ask me. As much as Kleptomaniacs was a predominantly commercial group with hits such as Hare and Swing Swing. There was always something about this group that made it clear to us, they wouldn’t be wiped off as part of the kapuka bandwagon. That something must had been Nyash’s lyrical delivery.

Almost single handedly this guy tackled the fiercest battle emcees at the time- FBI, head on. His opponents in FBI included the likes of Chiwawa, Chizi Noma, Wardhess, Attitude, and Bamboo amongst others.

Although his subliminal diss track Tuendelee that he did under Klepto, became a singalong to evry Tom, Dick, Harry…Jane, Daisy and Mary, Nyashisnki’s lyricism left every Hip-hop head thinking like Damn! Picture this…

“Kabla single yako ipite yangu kwa chati/

                               geuza jina, geuza flow, geuza trouser na shati/

                                   Na bado ukitoboa kuni guza ni bahati/

                                     Naroga na kihindi tena kigujarati/

                                      Yeah, zaga blow/ zigi zao zigi zao/

                                   Kutema na mimi, lazima utupe mbao/

                             Yule jamaa muli dharau saa ana spit ka binduki/

                              (za makarao) chiki plow, chiki chiki plow plow”

If that’s not proof enough that  Nyashinski is indeed a runaway Hip-hop son, then you need to pay attention to his verses in songs such as Amani’s Bad Boy, Motorola-sponsosered Tatizo and Klepto’s Bado Niko.  If you are not convinced after that then in Jay Z’s words, your whole perspective is whack.                                                                                                                                                                                                                                                                                                                                                                                                

Nonini

“Ukistaajabu ya Maina Kageni, Haukuyaskia ya mwimbaji Nonini” so goes a corrupted version of an old Swahili saying. Hubert Nakitare otherwise known as Nonini, is one man who shook the moral ground of an entire nation, and became a topic of discussion on almost every one lips. The ‘explicit’ lyrics in songs such as Manzi wa Nairobi, wee kamu and Keroro, which catapulted him to fame, became a curse that almost ended his musical career. Yet like Nas who in 2001 crawled out of the grave of a failed commercial stint, Nonini too came out of his musical depression, with a fresh sound that not only redeemed his face on the national glare, but also earned him immense respect within Hip-hop circles.

His 2005 diss track to Rufftone that he did under esoteric records alongside Walanguzi and Lord Shiri was nothing short of a Hip-hop great. And then there was Waliotuacha, Nimetoka Mbali , Hii Ngoma Ni Yako and the classic Ghetto Tale Labda ft. Jua Cali and Mahatma,  all of which had themes only synonymous to that of a Hip-hop track.

In recent times, this self proclaimed Godfather of Genge has continued to earn respect amongst Hip-hop heads, mostly for his lyrical content  in tracks like Kadhaa rmx, Heshima, Color Kwa Face and the new one  Ha-he remix.

Nonini whose musical themes revolve around Love, Hustle, struggles and respect for all, is not only doing it through records. Just over a fortnight ago he took to twitter and facebook citing lack of lyrical content as one of the troubles with the music industry. As much as all indications show that he is part and parcel of the Hip-hop movement, Nonini has decided to stick to Genge, a genre he co-founded. If this man is not a hiphop prodigal son, I don’t know  who is.

Mejja

Whether Mejja should be on this list is totally debatable, nonetheless a few of his verses makes him a suitable feature. In his 2008 Bongo La Biashara hit alongside Jua Cali, Mejja gave it his all lyrically. Coming in as an underdog and totally washing out his mentor ‘Baba yao’. 

Mejja’s lyricism might not be as complex as that of a certified Hip-hop lyricist; however his way with words is something that is undeniable.  Mejja’s wittiness always comes through regardless of the theme he rhymes about. Whether he is paying homage to his hood, recollecting thoughts after a night-out, or complaining about an obnoxious landlord, you can be assured of Mejja’s delivery.

One more thing that endears this comical genge rapper to Hip-hop lovers is his refusal to detach himself from his ghetto roots and always keeping it real. 

 

Gkon

Years back when WaPI was still at The British Council, I used to see him getting on the stage to lyrically battle other rappers. Although he was far from my favorite freestyler, I considered him an OK rapper and that’s where my thought of him took a stall. Fast forward to 2011 and Gkon reemerges, albeit not as a Hip-hop son, but a Hip-hop prodigal son.

He has been considered by many as a sell-out and as his commercial success continues to rise, his respect within Hip-hop nation keeps fading. 

E-sir

Every third month of each year, flashbacks of the untimely death of a great musical talent engulfs the minds of many Kenyan youth. It is almost a decade since the passing of E-Sir, a kid who rerouted the direction of local music. Although his allegiance was to Ogopa DeeJays-a stable viewed as the one responsible to the decline of Kenyan Hip-hop, E-Sir had a special talent that would’ve easily opened doors for him to freely mingle amongst hip-hop’s sons and daughters.

From the onset of his career E-sir earned the title ‘South C’s Finest’ from his fans, reminiscence to Brooklyn’s Finest, a title that had been reserved to a lyrical genius, the Late Notorious B.I.G (whose death anniversary incidentally falls in March). It wasn’t therefore by accident that E-Sir’s fans likened him to the legend Biggie Smalls. Just like Biggie, E-Sir had natural lyrical skill and tracks such as Jo, sare, and Lyrical Tongue twister did a good showcase of that. His track Hamnitishi ft.Talia Oyando was a very introspective track, and yet another great display from the dearly departed.

Bobby Mapesa

In a recent interview with a local press, Bobby boasted of his unmatched lyricism, a showoff that many of you reading are likely to disregard. Nonetheless, this Huruma bred rapper has had flashes of brilliance, throughout his musical career.

There you have it…so next time you meet any of these artists ask them why they decided to abandon Hiphop when they had the potential to exploit it. Others worth mentioning include Collo, Cannibal, Prezzo.

RABBIT'S 'ORUTU YA MASUDI' ALBUM REVIEW

                                                                                                                    By Nasta 

According to The Chinese Zodiac, the period 3^rd February 2011 to 22^nd January 2012 has been referred to as the year of the Rabbit. Bring it home and you find a rapper named Rabbit, who has experienced a tremendous rise since getting into the game two years back.

Early in the year Rabbit released a critically acclaimed mixtape titled ‘King’, but as it has come to pass, this rapper wasn’t going to let the year of the Rabbit pass by with just mixtape as the only offering (bearing in mind that the next year of the Rabbit will be in 2023), hence he dropped a sophomore album Orutu Ya Masudi.

Having been around during much of the production of this album, my anticipation of the final product wouldn’t have been overemphasized. But then again, I needed someone else’s perception before finalizing my review. Chris Prodigy a seasonal Hip-hop enthusiast states that “One thing which is conspicuously noted; in Orutu ya masudi, Rabbit tends to overly utilize his prowess when it comes to storytelling and he appears to be more confident and complacent” he also adds that, “Orutu is more of an introspective album, compared to Tales (Rabbit’s first album) which is more lyrical”

This album opens up with the intro track “Masudi” in which we hear an old man’s voice calling on the village people in Dholuo (Luo language), asking them to come and listen to him (the old man) play Orutu(a traditional musical instrument amongst the Luo community) . Rabbit then steps in saying that the old man is Masudi, his grandfather and states that it is from his grandfather where his musical journey started. The intro, Masudi is a careful balance between lyrical punchilines and poetic consciousness that unveils a very reflective and sensitive side of Rabbit.

Better days featuring Aziza the band, is the second track-a definite favorite to any female listener. The track is a sad relationship saga, where one partner travels for overseas studies, only to return and find that the once upon time love has faded off and no longer as strong as it once was. The live instrumentation is something very refreshing and soothing to the ear.

Punguza is a witty feel good song in which Rabbit aka Kaka Sungura narrates about his conversion with a girl at a bar in Kisumu, the wittiness in the song comes when Rabbit can’t understand the girl who only communicates in Dholuo, and the girl can’t understand the rapper who only speaks Swahili. Rabbit calls his friend Nebulaz (A Kisumu based rapper) to help him out, only for him to get sliced by Nebulaz. Though not a totally new concept, as it follows on Noorah's Lugha Gongana hit, it is still a track that one wishes to listen to, and would receive a favorable DJ play from your favourite pub.

 

Now, if you are into the deep meditative kind of Hip-hop, here is where you get enjoy music. "Najikataza nisi iangalie juu hio uni haunt kila mara/ lakini jana yetu ndio ufanya kesho imara" these are the opening lines to, Yesterdays;  a very deep and introspective song where Rabbit incorporates three different personal stories with respect to personal conflicts, family relations, love and loyalty friendship. Equally deep and Personal is Mama, a song dedicated to his mother Queen Liz.

Twisti is a definite big tune that when released promises to take  Kenyan party scene  by Tsunami as the official party anthem. Sampling the tune and voice of the late twisty legend mzee Daudi Kabaka, the track is good bridge between the our fathers’ zilizopendwa kind of music, and the new age rap music.  As much as it is a party anthem, the rapper still does good with flickers of wordplay every so often throughout the song.

Both Bangaiza and  Lazima kuhappen follow the party theme that is in Twsti, and if your life revolves around clubbing in the big city, then you need to add these two tracks on your favorite track list. While Bangaiza proves that when done right, the crunk beat is still relevant and very danceable, lazima kuhappen is on some grimy beats that would work well with a lyrical slaughter track.

Taxi driver featuring Poet cum obakano player & singer, Grandmaster Masese has a great movie like story line, only that the bumpy beat that fuses the Obakano string, tends to overshadow this one hell of a story.

 

Following in the story telling trail is a tragic Hiphop ballad titled ‘Kiwewe’ in which Rabbit introduces the coastal based vocalist Bwenyenye. Kiwewe is a type of song that every beautiful girl would wish to hate, but still play it over and over again.

Bwenyenye whose style of singing can easily be mistaken to Bongo music, proves that he too can get conscious. On  Kaza Moyo he is incorporated by Rabbit alongside a very conscious and lyrical Dann Dan of the 125 crew, to present a socio-political conscious rap. Kaza moyo is a testimony enough that Rabbit is far from abandoning his Hip-hop roots, and that revolution mindset that Kshaka set rolling years back is far from waning off.

Rabbit alongside Bwenyenye(left), with a fan during a recent concert.

Staki Kukuona has been around for quite sometime now, and if you haven’t listened to it, then “nani tembea, na staki kuku ona”

Both Takeova ft. Qritikal and Kata na Shoka ft. Kijana Masha and Ordinary, exposes Rabbits's lyrical side that was exposed in his debut album and his King Mixtape. On the former track produced by Sniper, Rabbit steps to stamp his authority amongst his industry peers. The song opens up with the lines;

"Wakikazana na ma omena, mi nina bigger fish to fry"  

then proceeds 

"Nina mimba ya mistari na mi uzaa kila siku/

ninapendwa na umati, we ni nani unionie wivu/

hii crown nimevaasio rahisi vile una kiche"

While on the former Ordinary proves to match Rabbits's lyricism thus far , Kijana Masha of Kalahari tends to come-through abit off-key with his rhymes.

Salam Aleikum featuring Ngallah of the group Yunasi is a calm concept track, narrating a marriage ceremony between a coastal lady (Rehema) and Luo lad (Otieno). The instrumentation of the song is purely acoustic and a good one for any wedding. It is amazing how Rabbit’s style blend well with Ngallah’s, as they give you a feeling that they’ve been a musical pair for eons.

Freedom is Orutu’s second track from the bottom, and it heavily uses the silky voice of Christine Apondi-the only idol we get to see, since the last edition of Mnet’s Realty TV. This highly intellectual song is yet another well crafted concept track, highlighting different meanings of what freedom is to the rapper.

Christine Apondi

Unlike in Tales of Kaka Sungura, which finishes with a vote of thanks outro, Orutu ya Masudi is closed on a rather aggressive note. Kredo ya mkopo the album’s final track is a subliminal diss to a wide array of artistes, most notably those who are in the habbit of bad mouthing  rappers who receive airplay as being ‘commercial’. With lines like “Heshimu miaka/ unafanya nini kwa playground na watoi" and "Ati US tour na uko club ndogo Alaska/so ile doh unakanjwa uko ndio na kanjwa hapa" the song comes as an indirect retaliation to Collo's Kuwa Mpole, which was widely viewed as a diss to Rabbit. The two rappers are both claiming the 'King Wa Rap' title. 

All said and done, this album shows growth and progression of Rabbit as an artiste.  He has come off-age to understand the dynamics of music, and more than ever before, he shows just how comfortable he is working with different producers (who include Sniper of G'ganji, Provoke and Dice amongst others). Overally out of a 60 minute rating Dakika gives this album which retails at Ksh.250/= and comes with a 2 hour Documentary DVD, a 45 Mins.