REVIEW : My Story – Barima Pages

REVIEW : My Story -  Barima Pages

If there has been any more ridiculed act on Twitter from Ghana than Paedae, C Zar and D Cryme, it surely has to be the upcoming rapper Barima Pages. He has been hated on to the extent that recently he tweeted that he was retiring his music career. However in what seems like a change of mind, the 313 signee released a single off his upcoming EP, ‘KIRM’.

In “My Story”, releases a bit of frustration and plays the pity card to his listeners. Lyrics in the song would draw one’s mind back to Eminem though they are not delivered with matching ‘hate for humanity’. The artist constantly keeps saying how he ‘struggles everyday’ and how his ‘life is complicated’.
Lyrics like

‘I’m broke
People think it’s a joke
I struggle everyday but I don’t peddle coke’


 ‘The money no de, why you go whip me’ 

invoke a certain piteous feeling towards him from emotional listeners and makes one wonder whether what he really speaks of is HIS story.
According to Pages however, that is actually the truth, the actual sad story of his life. And it seems he uses the pity aspect of his lines like not having a correct dad figure, wearing hand-me-downs and such to draw more listeners, but lyrics-wise the rapper prove himself quite good though not someone who pushes your mind into thought
The lines lack the metaphorical feeling I look for in rappers but generally, the song is a good listen and a worthy download though the song will die out with the instrumentals. If only he would reduce the elements in his instrumental more people might connect with his music
But I do wonder how someone who tweets via Blackberry could label himself as broke, I’ve seen worse and yet they don’t complain. Pages has to learn to appreciate


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REVIEW: Falou – Efya

REVIEW: Falou - Efya
Some weeks ago Efya released via microblogging site, Twitter, her lastest single and the Ghanaian Twitter community (at least the one’s I follow) instantly went ablaze with chatter of how good she was. I however in my usual adamant mood decided not to download it for no objective reason. [I guess I just didn’t feel like it]
However, a week or so later, I was forced to download it when I heard a certain lady I held in high regards for her excellent taste in music say she ‘loved Efya’s version more than the original ‘Obianuju‘. Not knowing what song had gotten her all jittery and not wanting to succumb to her asking for the name of a song she expected me to know, I took to Mr. Google, barrading him with all sort of phrases centered around the keywords ‘Efya Obianuju Cover’. I was redirected almost immediately to the very song I had earlier not paid attention to, Efya’s ‘Falou
Falou is referred to by some enthusiasts as the feminine version of Duncan.Mighty’s hit single, ‘Obianuju‘, I believe otherwise. Miss Jane Awindor, took a  hippity song that would die out when the time for its instrumentals had passed and created timeless music out of it, the kind you would still want to listen to even after ten years.
Falou is a ‘vocals-oriented‘ song with a background instrumental of violin and piano pieces reminiscent of London Orchestras. It is the type of song anyone would gladly listen to under dimmed lights whiles cuddling next to that special person. The only semblance Falou bears with the original song is that the artiste uses same words.
Generally, Efya delivers a sensational yet delicate piece in Falou and as much praise has already been given to the vocal ability of the one-time Stars Of The Future, contestant, it goes without saying that she gave 9/10 vocal performance [the one for too much ad libs] 

According to Kobby Graham,

More than anything, it’s the concept that completely and utterly melts me. Anyone can take an instrumental and slap some vocals over it.

But a Hans Zimmer instrumental?

Yes. Homegirl has taken Duncan Mighty’s lyrics from ‘Obianuju’, slowed them way, way down and placed them on top of Zimmer’s brooding score from the Christopher Nolan-directed, Leonardo DiCaprio-starring hit movie, ‘Inception’.

And what better time to release this single than when the original Obianuju song is gradually dying out. A worthy download, a classic listen

REVIEW: Dark Knight Rises…Does It?

Few films have had as much hype surrounding them as “The Dark Knight Rises,” and with good reason — the final chapter in writer-director Christopher Nolan’s epic Batman trilogy promised a grand conclusion to the Caped Crusader’s tale.
So does it measure up, or will fanboys leave the theater regretting the death threats they were issuing to reviewers who gave the flick negative comments? (Speaking of which — I’m nice, please don’t come after me.)
We’ll get to that in a sec. First, the basic plot essentially boils down as follows…
It’s been eight years since the Dark Knight (Christian Bale) took the fall for the evil-doings of revered D.A. Harvey Dent (Aaron Eckhart). The Bat’s alter-ego Bruce Wayne has also vanished from society, rumors swirling as to why he’s disappeared.
In reality, Wayne is physically and mentally broken after not only losing his love Rachel (Maggie Gyllenhaal), but also giving up his guise as Gotham’s protector. He’s lost all sense of purpose. Our crimefighter is now holed up in Wayne Manor, more Howard Hughes than dashing billionaire playboy.
During a charity event at the estate, burglar Selina Kyle aka Catwoman (Anne Hathaway) gets her hands on Wayne’s family jewels (literally, she steals his mom’s pearls). This prompts Bruce to reenter society, where all has appeared calm on the surface, but trouble’s been brewing underground thanks to the monstrous bad guy known as Bane (Tom Hardy).
Bane terrorizes Gotham, playing mind games, turning citizens against each other and upending society as we know it. It’s up to Batman to save the city he loves — with the help of old friends Commissioner Gordon (Gary Oldman), corporate officer/tech genius Lucius Fox (Morgan Freeman) and longtime butler Alfred (Michael Caine), and new allies Officer John Blake (Joseph Gordon-Levitt) and Miranda Tate (Marion Cotillard), a socialite philanthropist who sits on the board of Wayne Enterprises — but can he make it out alive?
From the moment the movie starts, you’re treated to an insane, gravity-defying action scene that feels reminiscent of the stunning “Inception” hallway fight, and it immediately sets the tone for your next 2 hours and 45 minutes. Buckle up, kids, you’re in for a ride.
As expected, Nolan does a masterful job with stunning visuals, cool new Bat gadgets and phenomenal fights. The hand-to-hand combat scene between Batman and Bane is terrifying and brutal, and the climax of the film — an amazing city-spanning sequence that lasts a good 30 minutes (I’m guessing; I definitely wasn’t look at my watch) — is simply mind-boggling in every possible way.
The returning cast is of course stellar, and Bale does a great job showing Wayne/Batman as a vulnerable and aging man who fights through more adversities than we typically see from a superhero.
The addition of so much of the “Inception” cast to the film was fantastic. Hardy packed on 30 pounds of muscle to portray evil-incarnate Bane, and he acts the hell out of the part which isn’t easy as most of his face is masked for the whole flick. Sure, he sounds like Sean Connery, but we’ll take it! Gordon-Levitt is also a real highlight, and there’s definitely a gasp-worthy reveal with his character at the end of the film.
Hathaway is a bit of a let down, however. While we enjoy her as Selina, her sassy/sultriness as Catwoman seems incredibly forced and at times cheesy. We just didn’t buy her attitude, but she sure can wear that catsuit.
Yes, the plot is convoluted, a couple twists at the end seem haphazard, and the sound mixing is horrible — our staffers who saw it didn’t understand like 1/3 of what Bane said, yet we still clearly got the message that he’s not someone you’d want to bump into in a dark alley. But overall, does the good outweigh the bad? Without a doubt.
“The Dark Knight Rises” is an entertaining and grand finale to an epic trilogy, and if you can weather the bumps along the way, you’ll definitely enjoy the ride. The film hits theaters Friday.

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REVIEW: channel ORANGE [ALBUM] – Frank Ocean

Frank Ocean must be breathing a pretty big sigh of relief right now. Since he posted his “my first love was man” confession on his Tumblr page last week, the internet chatter on the matter has been largely positive.

Beyoncé wrote the guy a poem, Russell Simmons of Def Jam wrote “we love you” back and even Busta Rhymes managed to come up with a quote that was basically the tough-guy equivalent of saying “some of my best mates are bisexual… honest.”

You’ve got to wonder how many people were aware of Frank Ocean’s musical output before he decided to do the unthinkable and bust his bare fist through the glass ceiling of hip-hop’s code of sexuality. You’ve got to wonder how many people would be streaming his album right now, off that same Tumblr page on which he posted his deeply personal confession just a few days ago. A half-educated guess would say ‘not as many as there are right now. for sure.’

That’s not to say that Ocean isn’t worthy of the attention, though. His talent is palpable; you don’t even have to get as far as the album stream for evidence of this. His live performance of ‘Bad Religion‘ on Jimmy Fallon‘s show last night (July 9, 2012) was rich with tension and spiked with electricity. It made for chilling viewing and Ocean exuded a serious air of “THIS is why I’m here.”

 And it’s that track that marks the pinnacle of Frank’s debut album. ‘Bad Religion’ is as chilling on record as it was to witness Ocean facing his public, in the midst of the media furore that had been escalated around him. He begins the song by imploring a taxi driver “it’s rush hour / so take to the streets if you wanna / just out-run the demons, could ya?”

It’s almost a shame that ‘Bad Religion’ falls so late in the tracklisting for ‘Channel Orange’; the trajectory of the album seems to be all about-face, starting with a half-sewn tapestry of sketchy ideas, feeling more like a work in progress than a collection of finished songs, before it reveals its highlight in a tardy fashion. Ocean’s identity doesn’t seem to be able to bust out of the schlocky R&B cliché that he drenches himself in, for the first part of the album.

 At times, his personality rises above the parapet and it’s notable when it does; the sass of ‘Pilot Jones,’ is punchy, as he questions “I don’t know why I keep trying to keep a grown woman sober.” The groove on ‘Lost‘ hits you in the solar plexus and it’s underpinned by a simple, infectious bass line as he takes you on a global trip of isolation. In between these high points, though, Ocean’s inaugural long-player feels sketchy, as though he’s yet to settle into his niche.

Frankly, an album’s worth of “bad Religion’ and it’s successor, ‘Pink Matter,’ featuring Andre 3000 – which is equally arresting – would have worked well. A shame, then, that Ocean decided to fill ‘Channel Orange’ with R&B cliché, jaded nu-soul rhythms and half-finished ideas. It’s well worth persevering with Channel Orange; Frank Ocean is clearly a man possessing a talent worth paying attention. Let’s hope he shows the same bravery and honesty in his music as he has done with his private life, made public.

Harley Arvon

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REVIEW: I’m Ill – Fricky

If there’s been any more remixed song than Jay Z’s “I’m Ill” I probably don’t know about it or have not heard about it yet. The remixe I’m focusing on today is Fricky’s. Fricky is one of those so-called underground acts I talked of in the post [Of Rappers And Lyricists] and if you don’t know him its probably because you spend too much time listening to “azonto” songs.

His “I’m Ill” freestyle I’m well informed is a prelude to his upcoming EP so basically the EP as trendy among neo-Hiphop acts in Ghana is a waring shot to people who don’t believe in his music, people generally refered to as “haters”. He keeps a free-flowing lyric base as alwyas and keeps on using the same masculine rhymes.

With bars like

“Life is a bitch and we all womanizers”,

“All about the flow but I don’t swim”,

he keeps up with a wealthy metaphor. Only problem I have with the sound is that this is Ghana and to blow up one must make a song to show versatility and in this freestyle Fricky does nothing new except his usual and it is the versatility of an act that can show whether or not he/she will last on the scene as the listeners easily get tired of the same thing.

Best line with no doubt surely has to be,

“Stepping on my shoes like I’m the guy they walk with

Stop criticising you acting like you’re RoisKiD”.

Not only because he mentioned me in it but because there are dual meaning to the two lines (Anyway he has to explain to me though cos I’m not always criticising)

A worthy download any day but not up to the standard I’m holding Fricky up to. But for a freestyle, I’ll say he has done well and I wait to see what’s going to be on the EP

REVIEW – By The Way – Kay Ara ft Pappy Kojo & Lady Jay

REVIEW - By The Way - Kay Ara ft Pappy Kojo & Lady Jay

Another single from the RebelMusik boss, Kay Ara, to prove that he is full of  versatile surprises and with more airplay and better publicity could represent Ghana on higher Hiphop platforms. Pappy Kojo, also does his thing on the song yet kay ara once again claimed ownership by proving to be the most dominant voice on the song for me personally.

However, it is important to note that Kay Ara sticks to his rap and twipop kinda of style and justifies why he is still one of my Top Notch artist sadly referred to as underground artist.

Lady Jay, I don’t really know of but she was phenomenal with the chorus/hook and i do wonder if that is her real voice or some lil T-Pain tuning is helping correct the pitch. on the whole its finally nice to see Kayy Ara stick to the rap and leave the singing to someone which the needed voice to do that.

Another worthy use of bandwidth if you’ve downloaded the song, if not check it out below 

By the way Kay Ara is a better lyricist than Sarkodie

REVIEW: Reality Show Mixtape – Kay Ara

Actually Kay Ara’s mixtape, the Reality Show, was released somewhere in the later part of 2011. I had come to know the artiste through a very weird experience and his only song I connected with was, “Me Dough”ft Lil Shaker of the Skillions Family.

The day I reluctantly downloaded the tape, I had the sinking feeling that I was wasting my precious bandwidth on another tape that would prove unworthy of downloading. I can only say now, that I’m highly ashamed at how I downplayed the artiste without even listening to more of his tunes.

The Reality Show, is a ten-track mixtape, mostly mixed by Klu of MOnsta Music. The first song, a cover of Drake’s “Headlines”, with the same title, is actually my least favorite track for very obvious reasons. There was a certain metallica notion to the beat. I had not even liked the original song. Nonetheless, I menaged with the lyrics and that of the next song, “Rebirth”, which equally didn’t meet my standards. The next song, “I Grew Up And Screwed Up” feat Jae Ghost, though not a personal favorite, turned out to be a jammer with my colleagues, who loved his lyrical delivery. “Touch It” the fourth song on the album with extremely extremely explicit lyrics is my personal favorite. The beat matches with the notion behind the lyrics, which seek to tell of a Catholic Nun who constantly wanted sexual favors from the persona. The second verse is also sexual, telling of the dangers that can arise if a girl visits a horny guy. The next song, a slow and emotional love song, could have been better if the hook/chorus was done by someone with a nicer voice. However, the song is one of my favorites, again Kay Ara, flaunted his lyrical prowess.

From hence, the rest of the songs are what I would called “the best songs” on the tape, as a fellow put it. “Junior’s Lullaby” is by all standards a very good song, a lyrical exposition on a certain abortion and “Go Baby”, about a spouse who the persona has grown tired of. Then comes the song of the tape, “Pain”. Its is needless to say, “Pain” is my favorite song and that it has the best lyrical composition on the whole Reality Show mixtape. In an Eminem-like manner, the artiste raps in no particular order, with a certain anger in his voice that rose as he continued. I believe I connect to this song mainly because it tells the story of most of the unusually good artistes, who remain labelled as “underground” or “upcoming” acts. The album then tapers to an end with “Karma” and finally “Usually Suspect” feat “Twi Teacher”, a UK-based Ghanaian act.

Generally, the tape is undeniably rich in lyrics, and the 5th to last songs cover up for the first 4 songs making it a worthy download. There is not a single doubt that Kay Ara, is full of versatile surprises and with more airplay and better publicity could represent Ghana on higher Hiphop platforms. However, it is important to note that Kay Ara is a pure rap and hiphop artiste and his kind are mostly less prefered on the Ghanaian showbiz front as compared to those who make songs with no lyrical sense but body-moving beats.

REVIEW: Lil Shaker Gives More Pressure

“E be pressure soor”

Lil Shaker, finally released the much-awaited single off his upcoming studio album, “Level 100”, yesterday  with an online premier on

Like all his songs, the joint called, “Pressure Soor” does not forego his normal humorous and risible lyrics. Originally this joint was to be released today , but the pressure being mounted on him by his twitter fanbase, caused an early leak of the song.

The song starts introducing a certain girl who because of getting some exposure via talkofgh goes to CK, though, she is not there to dance. Apparently, Kofi also got pressured to join twitter and mistakes an avi for profile pic.

After this verse, the controversial lyrics which I thought were not going to be used by the Ebuzu artiste finally came. He start hitting on other people in the industry. He mentions Apietus, claiming, the word on the street is that, ” He speaks in tongues”

The track though short; under 3:00mins does not disappoint Shaker fans. The Azonto beat coupled with Shaker’s own frolicking rapstyle make it a worthy download.


REVIEW: "I Swear" – @CobbyFresh.

“I swear say I con am
I swear say I get am”

I really hope this is not a true story as CobbyFresh himself claims. If its really true then, the girl too, I swear me too I “for get am”.

“I swear” is the recent joint of the fun-loving emcee, CobbyFresh, the “siano boy”. The tune is on a beat by Bigboi. The beat itself invokes a certain “jerky” behaviour, making you feel like moving your limbs at all means to the tune.

The song is mainly a storyline, which seeks to tell how he “conned” a certain girl.

One day he was supposedly killing a mouse in his house, while shouting “hey you devil come out”. His friend then arrives and asks to go out with him (not sexual).

He then steals his mother’s perfume and they set off onto the street. This was when they met a girl who he, CobbyFresh, just with a few praises and stuff wooed off her feet.

The songs ends on the note that there is more to it as he claims that this was just part one.

The whole songs reminds of the early braKevinBeats tunes, telling funny stories in a very jocular tone.

Watch out for this artist, with a little more effort and better publicity and production, he might as well as be the next braKevinBeats.

@CobbyFresh                                  @RoisKidGh