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Who is SLAM?

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In the heydays of the likes of Bobby Benson, Sunny Ade, Ebenezer Obey in Lagos area, Nigerian urban culture had just emanated. After the civil war urban bands came alive with a touch of soul and rock in urban centers of the East, yet Fela Anikulapokuti well known with his jazzy origins and crossover creation, Afro-Beat in Europe and America would challenge establishment; and when the time had come for younger generations from the 80s through the 90s, the likes of Kris Okotie marked another watershed. Who Slam is in the early 21st century may define the globalization of Nigerias music taste.

Slam is experimenting! Now in his twenties he marks another era in the development of the next Nigerian pop music idiom. He goes after his fancies in the song Ebu Chineke. That is enough to reveal to the keen music fanatic in Nigeria that as an Igbo man from the South-East Zone, Slam is merely following the trends of kinsmen in the home video industry. He relies on lyrics written either in English or native Igbo language, just like the movie gurus who experiment with neo-modernist ideas.

They're a synthesis of hip-hop and Nigerian idiosyncrasies rules his musing character. But unlike Mr. Cool, (from the same zone) who croons too, Slam is picking song yodels, following very recent if not latest global styles. One can discern the strong sense of Latino in the track Booty Dance; and even the body twisting and wiggling by the female cast of the music video say something. Slam is also experimenting with themes. After all Ebu Chineke is gospel with a lot of soul, yet Booty Dance has a strong display of secular sexuality. And Slam is Slam in both vocal attitude and futuristic feel.

It is this nonspecific experimentation that has characterized Nigerian pop acts for sometime now. Groups like Tribesmen and Plantashun Boys too have been involved. Though they were more into the almost mundane dancehall reggae feel, spiced with a little of urban ghetto character, like Daddy Showkey's African dancehall style. This too has a strong national following for its African cum revolutionary themes. It preaches ideals of the ghetto, and beats its chest in complete defiance to elitist arrogance. Ajegunle, a ghetto near Lagos is the origin of this identity, and some Nigerian football in Europe stars came from there too.

In the past such developments were borne out of many definitive factors and eras in Nigerian pop culture history. At the turn of every socio-political cum economic orientation, a new crop of pop musicians would emerge with a peculiar fad. This is easily discernable also in the pre-independence era, when Highlife bands with strong Ghanaian and West Africa wide links played to military bands march-beat.

Therefore musicians like Bobby Benson and IK Dairo of Taxi Driver and Mosorire (I'm Blessed) fames moved from emulating the beat to fusing native music elements for popular entertainment. Fela Anikulapo Kuti would follow, influenced by jazz, with his band the Kula Lobitos; and found a means in Afro Beat to fight military regimes till the early 90s. Femi Kuti picking his father,Felas legacy with a liberal experimentation became an exemplar for Paul Play IK Dairo (IK Dairos son) to re-mix Mosorire for an instant hit in the 90s. Therefore one sees a throw-back to the old while keeping abreast of the now genres; just to sound modern. Yet if you suspect Slams experiments might mark a complete departure hold your breath, and let the beat go on.
[BB]
In the post civil war Eastern Nigeria of the 70s such ventures lasted a while. Then a peculiar urban pop style with a strong fusion of rock and soul genres characterized bands like the Wings, Ofege, Cloud Nine and the Apostles. Twenty years of cultural experimentation with Sonny Okosuns Ozzidism, similar to Ghanas Osibisa, African instrumental cross-rhythmic ensemble with a feel transiting from reggae to strong rock came to be born in Kris Okoties I Need Someone in 1979. It was an instant national hit produced by Odion Iruejie and backed by Laolu Akins and friends of the Blow fame.

Kris Okotie opened and urban flood gate for Jide Obi and Felix Lebarty doing hits in the 80s. Music came alive and stronger than before, when Majek Fasheks Send down the Rain and Prisoner of Conscience simply re-incarnated Bob Marleys catholic chants laced with congas to have Kpangolo. This again demonstrated that the Igbos (Jews of Nigeria) were in control of the firmament. Tabansi Records owned by an Igbo businessman was the culture factory where these young men either as former producers or new artistes stepped off the mill. It is a trend that has also revolutionalized the home video industry in this country.

This means they will always know where the money is from a mile, and would easily cash in for soprano acts. And it was not as if sex was not reflected; infact suspicion that Alex ZitosTickle Me! might have caused Shina Peter to know that if women would throw female scented pants at the Ghanaian, then sex could sell music not otherwise. So Shina exported sex via Figure 8, Ijo Shina and Shina Mania to America. African Americans were agog!

This guitarist simply sought solace in the cross-rhythms of the South-West zone (Yoruba) talking drums to send hips and boobs of many voluptuous looking girls gyrating to the delight of American voyeurism. So through him in the 90s Nigerians urge for escapist eroticism as refuge from hard times was accurately reflected. He was an alternative to the lamentations of the early 80s upward; exemplified by Majek Fashek. Therefore between lamentations and escapism in sex, Ras Kimono sang Likkle Sugar, while Charley Boy sang 1990; all about dis-satisfaction with the economy raked earlier by a corrupt civilian regime of the Second Republic.

But the coming of military President Ibrahim Babangida, which brought uncontrolled liberalization in all aspects of life, might have engendered Shinas sexual expositions too. After all he also sang about the cares and fantasies of women in the song Figure 8. Females were curious an enthusiastic about their liberator from male chauvinism!!
[BB]
Meantime the death of Femis sister Yeni about the same with the father would also see him venturing into soul synthesized with Afro Beat. It was most like a deafening silence even as Lagbaja, who through years of jazz music presentation on Ray Power 100, Nigerias Premier Independent FM radio, released an urban mix grill. He tried much as he could to marry urbanized Yoruba idiosyncrasies, with some gimmickry-lacing for the venturesome Igbos of the South East, in Lagos, Nigerias city of opportunities.

Everyone was expecting something new, but to no heed. Seeming so like Nigeria was bereft of originality, Minaj Broadcast International, a satellite TV station could hardly satisfy Nigerias yearning for a catch fire song or album. But it tried its best to draw attention to the hurriedly done sounds, just like Nigerian movies often made in less than three weeks. So its Afrocentric professing could at least match South Africas Channel Os global sound trots. But the season of lack in the national grove continued. May be only Sound Sultan with his Jagbantis sound and Slams Latino and Soul expositions gave a hint of what might follow. Not really a style epoch. Not even near a national grove; but something to go by.

However it seems so true that Nigerian music must challenge the corrupt establishment, fight for human rights, cause women empowerment, continue to feed wounded sexual libidos and may be create some utopia of a country that will bounce back economically. That is if cultural institutions would preserve the essence of arts as a communication tool, record labels take some risks; with foreign labels taking on Nigerian acts. What Kennis Music by the Kenny and D1 formerly of the Ray Power Jam crew is doing to Paul IK Dairo, Tony Tetuila and then Slam prompts the question, Who is Slam?

Well reckoning with the times Slam is of the new generation. He is lucky that computer aided music making simply makes music making so easy. But Slam is vocal deepwater, running on the surface for now. If he sees good songwriting as a means to proper career development then the sky will be his limit. And that might as it has for many Nigerian acts become a lack and could stifle his career. That is to say that since the average music fanatic cannot acknowledge him as a good song writer, or having a good one to supply him, Slams vocal energy might come to a drawl one day. However he is young and still has time on his hand!

Ride on ... SLAM!





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USA says on 2012-02-11 06:11:02 about wleJmWFssSaHHwANsvq
VDPeWD Comrade kill yourself..










bayo says on 2010-07-02 07:47:30 about slam
he is the best male vocalist in africa









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Efefiong Akpan
Broadcast production and programming; print(special reports, politics)

I am creative, coming late to realising my strong attributes in the arts, after attending an engineering school



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