Peak Records is a an entertainment company with special focus on: -Artiste development and management -Ancillary Services; Licensing, Projects.Peak records features a highly technical production team as well as professional business managers to compliment her artistes.This combination ensures artistes are excelling in their craft and their business. For Enquires and Signing or Booking of any of our artist.cal us on +2348093118675 and you can also mail us at peakrecords@yahoo.com.
Friday 27 July 2012
Bonus
riddle: The Pope, Beyonce,
Barack Obama, and Bill Gates are on the same plane. There are only 3
parachutes left for the 4 of them. Obama says: "As the President, I
think I should have the right to have a parachute, because I rule
millions of people in the greatest nation of all." Beyonce says: "As
one of the greatest singers of all-time, I think I should deserve to be
safe. I bring tears and laughter to millions of people, and I'm an
important contributor to pop music." Bill Gates says: "As one of the
richest successful company owners, I think I should live because I'm on
top of the economics cycle, creating jobs and incomes for millions of
people. I am a wealthy and intelligent man." Finally, the Pope says:
"I'm an old, religious man. I lived a life that's full, I helped
millions of people find their way through God, I'm ready to let go of a
parachute and to face my fate."Which one of them will abandon the
parachute and die
ANSWER: DID I EVER MENTIONED THE PLANE WAS CRASHING? NO ONE IS GONNA DIE.
RIDDLES AND ANSWERS
The manager of a
hotel realizes that someone is stealing from the hotel. He comes up with
a plan to catch the thief. That evening, he gives everyone a stick and
says to sleep with it under their pillow. The stick will grow an inch
longer if it is the thief's pillow. The next morning, all the guests
come into the lobby with their sticks. The manager picks out the thief.
The sticks weren't magic. How did he do it?
Answer: The thief cut his stick an inch shorter so the manager wouldn't notice if it grew.
A woman shoots her husband, holds him under water for five minutes, and hangs him. When she's done, her husband tells her, "Good Job."
How is this possible?
Answer: She's a photographer. She shoots a picture of her husband, holds it under water to develop it, and hangs it up to dry.
A man is convicted to death. He will be spared if he can pick out one real flower in a room full of fake flowers. When he gets in the room, he complains about the heat and opens a window. Soon after, he finds the real flower.
Answer: When he opened the window, a bee came in. It went to the real flower.
A sign at a store says, "If you don't see what you want, you're in the right place." What does the store sell?
Answer: Glasses (the kind for your eyes, not the ones you drink out of.)
Two mothers and two daughters go to the bike shop. Each one of them buys one bike. They come back with three bikes. How is this possible.
Answer: Its a grandmother, a mother, and a daughter. The mother is a daughter and a mother, so its two mothers and two daughters.
The man who makes it doesn't need it, the man who buys it doesn't use it, and the man he gives it to doesn't know he's using it.
What is it?
Answer: A coffin
There is a room with two identical doors. One leads to happiness and good luck, and the other leads to terror and despair. There are two identical robots patrolling back and forth. You can ask one robot one question to find out which door to take. One robot will lie to you, and one will tell the truth. You cannot tell the difference between them. What question do you ask?
Answer: If I asked you which door was safe, what would the other robot say?
Explanation: The lying robot would lie and point to the bad door. The good robot would tell the truth and point to the bad door. Either way, take the door they don't point to
Answer: The thief cut his stick an inch shorter so the manager wouldn't notice if it grew.
A woman shoots her husband, holds him under water for five minutes, and hangs him. When she's done, her husband tells her, "Good Job."
How is this possible?
Answer: She's a photographer. She shoots a picture of her husband, holds it under water to develop it, and hangs it up to dry.
A man is convicted to death. He will be spared if he can pick out one real flower in a room full of fake flowers. When he gets in the room, he complains about the heat and opens a window. Soon after, he finds the real flower.
Answer: When he opened the window, a bee came in. It went to the real flower.
A sign at a store says, "If you don't see what you want, you're in the right place." What does the store sell?
Answer: Glasses (the kind for your eyes, not the ones you drink out of.)
Two mothers and two daughters go to the bike shop. Each one of them buys one bike. They come back with three bikes. How is this possible.
Answer: Its a grandmother, a mother, and a daughter. The mother is a daughter and a mother, so its two mothers and two daughters.
The man who makes it doesn't need it, the man who buys it doesn't use it, and the man he gives it to doesn't know he's using it.
What is it?
Answer: A coffin
There is a room with two identical doors. One leads to happiness and good luck, and the other leads to terror and despair. There are two identical robots patrolling back and forth. You can ask one robot one question to find out which door to take. One robot will lie to you, and one will tell the truth. You cannot tell the difference between them. What question do you ask?
Answer: If I asked you which door was safe, what would the other robot say?
Explanation: The lying robot would lie and point to the bad door. The good robot would tell the truth and point to the bad door. Either way, take the door they don't point to
Wednesday 25 July 2012
HISTORY OF NAIJA HIP HOP MUSIC
The Nigerian Music Industry is yet to attain a colossal status
wherewith it will be called an industry indeed. However, taking into
cognizance the obvious tendencies of a mega industry, one can either
choose to look at the cup as half-filled or half empty. A genre that has
come to thrive over the years is the Nigerian Hip Hop which has
informed most of the developments in the Nigerian Music. In this post,
we shall be taking a brief tour of this 30 years old genre and how it
had evolved overtime.
Sound on Sound (1988) was the first Hip-Hop and rap group that I came across in Nigeria due to their accrued popularity. Therefore, like some of Nigerian Hip Hop critics and commentators, I was under the assumption that the group pioneered Nigerian Hip Hop and Rap Music. This assumption is somewhat true. This is because Sound on Sound, which included Mr. Kool (yes; same Mr. Kool), Ebony Laoye, Monica Omorodion, Troy “Jedi” Williams and Ron “Scratch” McBean (Scratch is Oye AKD’s friend by the way) were the first Hip Hop and Rap group to make a full-fledged rap album produced in Nigeria. However, a decade barely passed after the birth of Hip Hop in the blocks of South Bronx, New York when Nigerian artistes caught the bug.
One can directly relate this to the ripple effect which the success of “rapper’s delight” by the Sugar Hill Gang had in this part of the world barely 2 years before the first rap record was produced in Nigeria.
It is little wonder Nigerian Hip Hop has become one of the nation’s vanguard in the international entertainment community.
The first rap music in Nigeria emanated in 1981 from the mind of a protesting On-Air personality who decided to throw a dagger at the disco rap trend which suddenly became the rave of the moment. With the release of “The Way I Feel Rap“, Ron “Ronnie” Ekundayo became the proponent of hip hop and rap music in Nigeria. His album, The Way I Feel consisted of similar Kris Okotie‘s pop tunes, just like Run DMC jumped on rock tunes in 1983 and beyond.
Apparently, he was inspired by the singer and decided to add rapper
to his title which previously included Television presenter and DJ
amidst the others mentioned above. One would expect Ron to have stuck
around and defend his title as a pioneer of Rap music in Nigeria (and
possibly Africa) but with his one-hit-wonder, he already earned his
place in history.
Other proponents of the first era include: Dizzy K. Falola, Rapmaster Lexy Mella (who could neither rap well nor rap much), Dili I. Jukson, I.C. Rock (who pushed conscious music), and so on.
Rap music in Nigeria during this period was mainly vague expressions and predominantly mindless chants which has been adapted poorly from the more artistic American counterparts, which some of today’s rappers will refer to as wack.
In 1991, the trio of Terry, Mouth MC and Junior, with the release of “Which One You Dey?” gave birth to what was going to become the trend of the second era of Nigerian Hip Hop and rap music. Unlike most of their predecessors who were “American rappers wannabe”, Emphasis gave birth to the genre “Nigerian Hip Hop” by choosing to deliver their lyrics in pidgin which is the true language of the streets in Nigeria. They delivered their lyrics in a lay back flow and with elements of drama.
This ushered in the second decade of Hip Hop in Nigeria, an era on which little or next to nothing has been documented on (to my utmost surprise). It’s appalling that on a few Nigerian social networks and blogs, the “bloggers”, music critics and Hip Hop scholars always refer to the duo of Junior and Pretty as the pioneer of Hip Hop in Nigeria when in actual fact they only took off from where Emphasis left off.
That said, Junior and Pretty took Hip-Hop mainstream with their comical pidgin style of rapping which was adapted for the streets of Nigeria. This quickly became a prominent attribute of the second decade of Hip Hop.
Unlike the first era, they showed more originality by owning the art
and making it Nigerian. Even the instrumentations were heavy on
indigenous content. Truthfully, Reggae and Disco music ruled supreme in
Nigeria between the 80s and late 90s and due to the success of the likes
of Majek Fashek, Mandators, Kris Okotie, Edna Ogoli
(my favourite) and so on, most promoters and labels (both foreign and
local) were focused on the reggae artistes as they were the money makers
at this period.
As a result, the Hip Hop genre suffered in terms of prominence and lucrativeness. Some artistes had to inculcate the reggae culture into their Hip Hop genre; for instance – Daniel Wilson aka Mr Raggamuffin, Blackky and even Oritz Wiliki had to infuse rap bars into their songs.
Other rappers who stood out in this era include: Cashman Davies, Weird MC, Seyi Shodimu, Baba Dee, Zaaki, Felix and Moses, etc.
Most of these artistes fizzled out as Nigerians still weren’t ready to accept Hip-Hop over Pop and Reggae although some of them re-emerge much later in the following era. The late 90s saw an emergence of young Hip-Hop acts pop up everywhere from Trybesmen to Ruff, Rugged & Raw to Maintain, Blackface was the rapper in Plantainshun Boiz; and just like Emphasis in the first decade, a 3man group called The Remedies emerged towards the end of the second era with the smash hit “Shakomo” in 1997, and re-ignited the Hip-Hop fire in the Nigerian Hip Hop arena.
The now defunct group which was made up the trio of Tony Tetuila, Eedris Abdulkarim and Eddy Montana dropped another single “Judile” before Tony Tetuila left to become a solo artist based on irreconcilable differences.
The split helped to create the 1st public major Hip-Hop beef in Nigeria as Tony Tetuila still upset with the split went on to release the beef track “Omode Meta” which featured Plantashun Boiz & Ruff, Rugged & Raw
It is safe to say their split gave birth to the major types of contemporary music common amongst the youth in Nigeria today. I can still remember vividly how I brainstormed on what genre to classify Tony Tetuila‘s music having successfully placed the others into Rap and R’n'B respectively. It ended up being called Yo Pop which is today called Afro-Pop.
At the end of the 2nd decade – driven by the successes of Hip-Hop joints “Monica”, “Shakomo“, “Allen Avenue” and even the 1999 “Shake Body” by Trybesmen; nu skool cats emerged with such ferociousness. Amongst these were – Trybesmen, X-Appeal, Plantashun boiz, Rasqie, SWATROOT, Apostles, Maintain, Ruff Rugged & Raw, Terry Da Rapman, Lord of Ajasa, Mode Nine, Big Lo and so on.
The defining moment of the start of 3rd decade happened in 2002 when Micheal Ugochukwu Steven AKA Ruggedman released his diss track “Ehen Pt.1” where he targeted various Hip Hop arts, calling them out as “wack”. It was a marketing gimmick which worked; the direct hit forced a lot of MCs to sit up and accept the emergence of “dope MCs” and also stirred the tense 2nd major Hip-Hop beef between him and the lyricist who’s been rapping since he was 5 … Mode Nine.
All in all, Ruggedman pioneered the era of “lyrical awakening” because he used Rap features that are synonymous with the foreign counterparts, depicting intellectual as well as artistic skillfulness and he sold it! If Eedris had shown that much professionalism when he released “Wackawiki MC”, perhaps, he would have been the one we are talking about now due to the number of hits he churned out at the time.
2008 saw the emergence of the short black one – M.I as he released his debut album “Talk About It”, to quickly become a contender for the Hip-Hop Crown. The tail-end also saw a lot of dope MCs like Naeto C, Da Grin, Ikechukwu, Jesse Jagz, SauceKid, Ill Bliss.
Some of the features of the 3rd decade include: clearly defined style, heavy play on words, use of metaphorical expressions, use of punchlines, and so on.
I will love to mention the MCs in this new decade but that will just be a waste of bytes. Why? Because 2011 just rolled off and except you were born last year, you know
Sound on Sound (1988) was the first Hip-Hop and rap group that I came across in Nigeria due to their accrued popularity. Therefore, like some of Nigerian Hip Hop critics and commentators, I was under the assumption that the group pioneered Nigerian Hip Hop and Rap Music. This assumption is somewhat true. This is because Sound on Sound, which included Mr. Kool (yes; same Mr. Kool), Ebony Laoye, Monica Omorodion, Troy “Jedi” Williams and Ron “Scratch” McBean (Scratch is Oye AKD’s friend by the way) were the first Hip Hop and Rap group to make a full-fledged rap album produced in Nigeria. However, a decade barely passed after the birth of Hip Hop in the blocks of South Bronx, New York when Nigerian artistes caught the bug.
One can directly relate this to the ripple effect which the success of “rapper’s delight” by the Sugar Hill Gang had in this part of the world barely 2 years before the first rap record was produced in Nigeria.
It is little wonder Nigerian Hip Hop has become one of the nation’s vanguard in the international entertainment community.
The first rap music in Nigeria emanated in 1981 from the mind of a protesting On-Air personality who decided to throw a dagger at the disco rap trend which suddenly became the rave of the moment. With the release of “The Way I Feel Rap“, Ron “Ronnie” Ekundayo became the proponent of hip hop and rap music in Nigeria. His album, The Way I Feel consisted of similar Kris Okotie‘s pop tunes, just like Run DMC jumped on rock tunes in 1983 and beyond.
Other proponents of the first era include: Dizzy K. Falola, Rapmaster Lexy Mella (who could neither rap well nor rap much), Dili I. Jukson, I.C. Rock (who pushed conscious music), and so on.
Rap music in Nigeria during this period was mainly vague expressions and predominantly mindless chants which has been adapted poorly from the more artistic American counterparts, which some of today’s rappers will refer to as wack.
In 1991, the trio of Terry, Mouth MC and Junior, with the release of “Which One You Dey?” gave birth to what was going to become the trend of the second era of Nigerian Hip Hop and rap music. Unlike most of their predecessors who were “American rappers wannabe”, Emphasis gave birth to the genre “Nigerian Hip Hop” by choosing to deliver their lyrics in pidgin which is the true language of the streets in Nigeria. They delivered their lyrics in a lay back flow and with elements of drama.
This ushered in the second decade of Hip Hop in Nigeria, an era on which little or next to nothing has been documented on (to my utmost surprise). It’s appalling that on a few Nigerian social networks and blogs, the “bloggers”, music critics and Hip Hop scholars always refer to the duo of Junior and Pretty as the pioneer of Hip Hop in Nigeria when in actual fact they only took off from where Emphasis left off.
That said, Junior and Pretty took Hip-Hop mainstream with their comical pidgin style of rapping which was adapted for the streets of Nigeria. This quickly became a prominent attribute of the second decade of Hip Hop.
As a result, the Hip Hop genre suffered in terms of prominence and lucrativeness. Some artistes had to inculcate the reggae culture into their Hip Hop genre; for instance – Daniel Wilson aka Mr Raggamuffin, Blackky and even Oritz Wiliki had to infuse rap bars into their songs.
Most of these artistes fizzled out as Nigerians still weren’t ready to accept Hip-Hop over Pop and Reggae although some of them re-emerge much later in the following era. The late 90s saw an emergence of young Hip-Hop acts pop up everywhere from Trybesmen to Ruff, Rugged & Raw to Maintain, Blackface was the rapper in Plantainshun Boiz; and just like Emphasis in the first decade, a 3man group called The Remedies emerged towards the end of the second era with the smash hit “Shakomo” in 1997, and re-ignited the Hip-Hop fire in the Nigerian Hip Hop arena.
The split helped to create the 1st public major Hip-Hop beef in Nigeria as Tony Tetuila still upset with the split went on to release the beef track “Omode Meta” which featured Plantashun Boiz & Ruff, Rugged & Raw
It is safe to say their split gave birth to the major types of contemporary music common amongst the youth in Nigeria today. I can still remember vividly how I brainstormed on what genre to classify Tony Tetuila‘s music having successfully placed the others into Rap and R’n'B respectively. It ended up being called Yo Pop which is today called Afro-Pop.
At the end of the 2nd decade – driven by the successes of Hip-Hop joints “Monica”, “Shakomo“, “Allen Avenue” and even the 1999 “Shake Body” by Trybesmen; nu skool cats emerged with such ferociousness. Amongst these were – Trybesmen, X-Appeal, Plantashun boiz, Rasqie, SWATROOT, Apostles, Maintain, Ruff Rugged & Raw, Terry Da Rapman, Lord of Ajasa, Mode Nine, Big Lo and so on.
The defining moment of the start of 3rd decade happened in 2002 when Micheal Ugochukwu Steven AKA Ruggedman released his diss track “Ehen Pt.1” where he targeted various Hip Hop arts, calling them out as “wack”. It was a marketing gimmick which worked; the direct hit forced a lot of MCs to sit up and accept the emergence of “dope MCs” and also stirred the tense 2nd major Hip-Hop beef between him and the lyricist who’s been rapping since he was 5 … Mode Nine.
All in all, Ruggedman pioneered the era of “lyrical awakening” because he used Rap features that are synonymous with the foreign counterparts, depicting intellectual as well as artistic skillfulness and he sold it! If Eedris had shown that much professionalism when he released “Wackawiki MC”, perhaps, he would have been the one we are talking about now due to the number of hits he churned out at the time.
2008 saw the emergence of the short black one – M.I as he released his debut album “Talk About It”, to quickly become a contender for the Hip-Hop Crown. The tail-end also saw a lot of dope MCs like Naeto C, Da Grin, Ikechukwu, Jesse Jagz, SauceKid, Ill Bliss.
Some of the features of the 3rd decade include: clearly defined style, heavy play on words, use of metaphorical expressions, use of punchlines, and so on.
I will love to mention the MCs in this new decade but that will just be a waste of bytes. Why? Because 2011 just rolled off and except you were born last year, you know
NIGERIA RECORD LABELS AND CONTACTS
Address: 18/33 Woji Alcon Road, ByFederal Housing Estate Junction, Woji, Port Harcourt
Phone: +234 (0) 8028895962
April 12 Studios
Audio and Visual Productions
A
Boy Blac' Entertainment
Record Label and Recording Studio
Address: 34, Oba Market Road, Opposite Yanga Market, Benin- Edo State
Phone: +234 (0) 7038537837
Email: boyblacrecords@yahoo.com
Breach Sound Records
Breach Sound records, Music producer
Website: http://www.breachsoundrecords.tk
Edge Records Studios
Address: 44 Isaac John Street, Fadeyi, Lagos..
Phone: +234 1 8754885, 08023576693
Gary Studios
Studio Recording, Sound Effects, Recording Audio, Recording Engineer, Music Production,
Sound Engineering
Website: http://www.garystudios.com
Grafton Entertainment
Nigeria and UK based record label seeking to promote upcoming artistes
Website: http://www.graftonentertainment.com
Grand style entertainment Ltd
Music/ Video Production, Artist Promotions, Marketing, Promotion/Album Sales
Address:33, Yaounde Street, Zone 6, Abuja.
Phone: +234 (0)803 638 051
Email: grandtso@yahoo.com
Website: "http://www.myspace.com/grandtso
Kennis Music
Kennis Music, frontline music producer.
Website: http://www.kennisradio.com/
Maxibeats Inc
Music Production, Beat Sales (retail and wholesale), Sound design, Audio Recording and Mastering
Address: 9 Ogui Road, P.O Box 1446 Enugu, Enugu State.
Phone: +234 48 481831, 08064113238
Email: teesquad@gmail.com
Website: http://www.maxibeats.com
Leisuretyme Productions
Music Production, Sales etc
Address: Shop A335/F2403, New Electronics, Onitsha, Anambra State.
Phone: +234 46 491595
Mo'Hits Records
Phone: +234 (0) 8033480122, 08032127898
Email: entertainmentpeople2006@yahoo.com
Website: http://www.mohitsrecords.com
Osh Productions
Music production, recording studio, sound engineer
Address: 2 Femi Asiwaju Close, Ojodu, Lagos State, Nigeria
Phone: +234 (0) 8074595818
E-mail: yomski@oshproduction.com
Website: http://www.oshprouction.com
Premier Music Nigeria
Frontline record label
Website: http://www.premiermusicnigeria.com
Shawl-X Studio
Address: 4, Shibiri Road, Iyana-Ilemba, Oto-Awori, Lagos
Phone: +234 1 4034354, 08052801922.
Email: shawl-xstudio@shawl-xentertainment.com
Sound Module Music
Tomiwa “Josh-Tosh”, Music Producer.
Website: http://www.soundmodulemusic.com
Storm Records
Website: http://stormnigeria.com/music/
Tams Records
Produces Hip Hop RAP RnB and afro music etc
Address: Off Lt. Col. Larry Crescent, Agip Estate, Mgbuoshimini, Rumueme, Port Harcourt.
Phone: +234 84 494945, 772921, 0803 6678 593
Website: http://www.tamsrecords.com
Toplink Entertainment
Music production and Marketing
Address: 35 igbogbo road ikorodu, lagos state
Phone: +234(0)8027636640
Phone: +234 (0) 8028895962
April 12 Studios
Audio and Visual Productions
A
Boy Blac' Entertainment
Record Label and Recording Studio
Address: 34, Oba Market Road, Opposite Yanga Market, Benin- Edo State
Phone: +234 (0) 7038537837
Email: boyblacrecords@yahoo.com
Breach Sound Records
Breach Sound records, Music producer
Website: http://www.breachsoundrecords.tk
Edge Records Studios
Address: 44 Isaac John Street, Fadeyi, Lagos..
Phone: +234 1 8754885, 08023576693
Gary Studios
Studio Recording, Sound Effects, Recording Audio, Recording Engineer, Music Production,
Sound Engineering
Website: http://www.garystudios.com
Grafton Entertainment
Nigeria and UK based record label seeking to promote upcoming artistes
Website: http://www.graftonentertainment.com
Grand style entertainment Ltd
Music/ Video Production, Artist Promotions, Marketing, Promotion/Album Sales
Address:33, Yaounde Street, Zone 6, Abuja.
Phone: +234 (0)803 638 051
Email: grandtso@yahoo.com
Website: "http://www.myspace.com/grandtso
Kennis Music
Kennis Music, frontline music producer.
Website: http://www.kennisradio.com/
Maxibeats Inc
Music Production, Beat Sales (retail and wholesale), Sound design, Audio Recording and Mastering
Address: 9 Ogui Road, P.O Box 1446 Enugu, Enugu State.
Phone: +234 48 481831, 08064113238
Email: teesquad@gmail.com
Website: http://www.maxibeats.com
Leisuretyme Productions
Music Production, Sales etc
Address: Shop A335/F2403, New Electronics, Onitsha, Anambra State.
Phone: +234 46 491595
Mo'Hits Records
Phone: +234 (0) 8033480122, 08032127898
Email: entertainmentpeople2006@yahoo.com
Website: http://www.mohitsrecords.com
Osh Productions
Music production, recording studio, sound engineer
Address: 2 Femi Asiwaju Close, Ojodu, Lagos State, Nigeria
Phone: +234 (0) 8074595818
E-mail: yomski@oshproduction.com
Website: http://www.oshprouction.com
Premier Music Nigeria
Frontline record label
Website: http://www.premiermusicnigeria.com
Shawl-X Studio
Address: 4, Shibiri Road, Iyana-Ilemba, Oto-Awori, Lagos
Phone: +234 1 4034354, 08052801922.
Email: shawl-xstudio@shawl-xentertainment.com
Sound Module Music
Tomiwa “Josh-Tosh”, Music Producer.
Website: http://www.soundmodulemusic.com
Storm Records
Website: http://stormnigeria.com/music/
Tams Records
Produces Hip Hop RAP RnB and afro music etc
Address: Off Lt. Col. Larry Crescent, Agip Estate, Mgbuoshimini, Rumueme, Port Harcourt.
Phone: +234 84 494945, 772921, 0803 6678 593
Website: http://www.tamsrecords.com
Toplink Entertainment
Music production and Marketing
Address: 35 igbogbo road ikorodu, lagos state
Phone: +234(0)8027636640
Subscribe to:
Posts (Atom)