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Eyan Mayweather Review

Artiste: OLAMIDE

It’s  not common for artistes, to release an album every year but somehow, Olamide a.k.a Baddo has released 5 albums in 5 years with the latest being Eyan Mayweather and at 21 records long, with no features, it’s an interesting and very enjoyable album.

Olamide Adedeji started his musical journey in 2011 and even though his style of rap wasn’t as mainstream as it is today, he did not try to change the fabric of his art to fit in or make a quick buck: he stayed in the lane he felt most comfortable in and it has paid off.

Nowadays when an event or phenomenon goes viral, sometimes, it doesn’t take too long for something else to come on and offset the order of things but a tangible number of Olamide’s art have not only affected culture, but also lingered: Such as when he released Lagos Boys (Sneh), so many people started to add the suffix, ‘sneh’ to their names. His dance routine in Shakitibobo caught on like wildfire and in no time, people begun to use it to groove to songs that had nothing to do with him and those are just 2 of the many ways of gauging his obvious influence. He understands the workings of good and lasting music and this 5th album, is additional proof.

Things are off to a choral and cocky start on Eyan Mayweather (track 1) as an assortment of voices lay the ground work for Olamide’s  entry- he raps in English, Pidgin and Yoruba and even though, he sounds better ‘spitting’ in Yoruba and Pidgin, it doesn’t affect his compelling flow from verse to verse. His braggadocio is fully activated as he schools other rappers, instructing them to go sell out venues and countries before they come back to him and claim the title of ‘best rapper.’ The delightful Inferiority Complex (track 2) begins with a call and answer feature as the Afrobeat tinged record seeks to stop people from worrying but instead, turn to God. He sings but within his capability which is just right.

The pop delightfulness continues on Don’t Stop (track 3) especially with the hook (Don’t stop, take it, don’t stop…). Olamide’s delivery on Where The Man (track 4) is top notch and is reminiscent of Beenie Man’s signature delivery- it’s layered with vocal surges and the lyrical work is so creative, the few seconds of gibberish rap doesn’t feel out of place. The rap domination continues on Igara Chicken (track 5) but this time, he deepens his voice and strips his delivery of any poppy-ness thus, more grit.


Boom Boom (track 6) lacks any of the rigour and grit the previous tracks possessed but is still not a bad listen.Olamide returns to his Hip Hop roots on Ball (track 7) and even though he is not at his best, it is yet another enjoyable record. The classic case of devil in the detail is exhibited when he references Nicki Minaj and draws out the last syllable of her first name just like she did in the remix of Big Sean’s Dance A$$. Arara (track 8) is reflective but monotonous, in execution. But still, bearable.

The pop effect is back on Say Something (track 9) which is production heavy and very cultural as he infuses Hausa and Igbo lyrics. An enjoyable record that leads into another song with an equally enjoyable effect: Be Happy(track 10), although quite uninspiring.

Olamide’s rap is again, ordinary on Kana Finish (track 11) but Pheelz’s production work gives it some credence.I’m Ok (track 12) borders average. The backup vocals on Matters Arising (track 13) are pleasing to the ear, as is the Kwam 1-esque instrumentation at the beginning of the song. Olamide doesn’t rap and his singing is contained to the range he can achieve. Again, Pheelz works his magic and complements where Olamide falls short. Those harmonizing backup vocals present themselves again on the production heavy Lagos Boys (track 14), giving the song an earworm-ish effect. It’s also Olamide at his poppy best.

Mama Mi (track 15) is a tribute to his mother and her sacrifices for him, during the days when things were not so buoyant. He serves some deep Yoruba lines that portray a grateful heart. Melo Melo (track 16) is another really high point of the album with its well-crafted lyrics about long-suffering, from his lady. Sold Out (track 17) derives its influence from the Igbo tribe with its Igbo melody, making for an enjoyable ride and the lyrics, an amusing listen.Bobo (track 18) is an instant pop hit.

Toriomo (track 19) is the sweet tribute to his son, Miliano as he sings about the lengths he will go for his child. He also seized the opportunity to advise his son, even referencing his nick-name; Yellow paw-paw. It’s a very sweet and moving song that clearly shows the love Olamide has for his son.

Hip Hop is back in full force on Jega (track 20) and it is rugged. His Yoruba and Pidgin lines come off better than when he raps in English but that very little inconsistency did not dent the track. Hip Hop closes the album with OG Waheedee (track 21) and even though the beginning is quite tepid, it picks up well before the end with an amazing instrumentation and a more assured rap delivery from Olamide.

Pheelz the producer has found a great music making partner in Olamide as he is easily, the MVP of this album; in the places where Olamide falters, Pheelz makes up with his production work.

Eyan Mayweather may not be the best Hip Hop or pop album but it passes the test, considerably well. It’s a very enjoyable album with many high points and the low points can be dismissed because even at his worst, Olamide is pretty good.




Author: Herbidex Teasler

Aderibigbe Abiodun , is a Blogger, Internet Marketer, Programmer, Web Developer, and the C.E.O of

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