10 best Nigerian albums of the year

What a year it’s been for Nigeria music. With almost 30 mainstream albums released, from a variety of genres, this was a year when projects were dropped.

There have been highs and lows for many projects, with Skales failing to meet expectations, and The Collective releasing a blueprint for Nigerian good music. LeriQ alos did weigh in with a project of experimental sounds which held its own for music purists.

Below are the 10 best albums of 2015 in a specific order.

1. Chocolate City – The Indestructible Choc Boi Nation”

After announcing the return of Jesse Jagz back to the fold, and merging Choc City with M.I’s vanity label Loopy Music, the record label aptly presents a compilation album with the bold title ‘ featuring 13 artistes, and comprising of 15 tracks.

The LP itself is a declaration that Chocolate City is ready for business. It sure sounds that way on the opener ‘Summer Time’ with Jesse Jagz’s voice heralding the new era. Ice Prince sounds rejuvenated maybe because he is back with his sensei and M.I drops a flashy verse. As for Jago he says “I came in the game, and made the whole empire grow” highlighting his re-entrance to Choc City which coincided with the merger.

Two years out of the pack, Jesse slots in with the whole crew effortlessly. He reconnects with his former pupil Ice Prince on ‘Suite 99’- the rap/dancehall mashup. “Ladies and gents/ salute the president/periodic flow/ I am in all of my elements” fires Ice Prince as he goes back and forth with Jesse Jagz.

On ‘Restoration’ featuring M.I and Milli, the leader of Jagz Nation addresses his exit from Chocolate City in 2013. In the first verse, the famed lyricist drops a strong contender of the best rap verse of the year. “Just for the sake 'a/ Reyna make paper/ I won't be a slaver/ Even if it's for the paper…Took a step, no disrespect was my failure/ I was like hell no, CC was like hell yeah/ so I put it on my Facebook shook nigga hell yea” he narrates on the self-produced song.

His elder bro M.I goes solo on ‘Third Mainland Bridge’ featuring Moti Cakes. Proving the success of ‘Bad Belle’ was not a fluke, their growing chemistry creates a trap record that knocks courtesy of CKay’s production. M.I’s Achilles heel of spitting corny punch lines- “stay fly, I never crash yet/these rappers need a ruler like a maths set” does not take the song off track thankfully. Moti Cake’s artistic DNA is very heavy on the song, with him coolly saying “came out the gutter, now its pure water” before doing his Young Thug impersonation.

It’s obvious the old heads hold their own on the project, but it’s the new talent and young veterans that show Choc City’s future is in good hands. Dice Ailes and Milli pull out a sweet pop candy from their pockets on ‘Drank’ which also features DJ Lambo.

‘Drank’ sounds a lost track from Chris Brown/Tyga’s collabo album. Milli is a shape shifting pop entity, and Dice shows what he is truly capable of when not searching for a Naija hit. Youthful, breezy, light and sweet, ‘Drank’ is a strong joint made from Reinhard- the chief architect of the album.

On ‘Oh No No’ a trap record with warning bells at the beginning, and rattling 808’s Dice Ailes shows what he is comfortable with. “Ogbeni you lying, you ain’t getting paper like that, you ain’t got swag/Olorun I am bringing it back” says Dice in his comfort zone.

The freshness of the rap sound continues on ‘Go Hard’ by Loose Kaynon featuring Ice Prince and Milli. Milli does his best Young Thug impression and Ice drops an impressive trap verse. “I came back with the fire now I am the devil up in here/I am the man of the year/ shout out to Phyno- but he knows/I roll so deep we gon’ need a couple of limos” raps Loose revealing his hunger for being on the sideline for quite a while.

The new kids on the block bring a fresh vibe to the compilation album. Even Pryse, another act who has been on the sideline for a while drops a Teck-Zilla produced joint ‘Ricochet’.

TICBN is not an all rap affair. Koker drops the most standout song on the project, not only in terms of sound but in quality also. ‘Do Something’ is a 2015 ode to Sir Shina Peters’ glittering Afro-Juju genre of the late 80’s and early 90’s. Produced by the highly impressive Reinhard ‘Do Something’ is an instant hit. Simply described, it is a waist moving, rump shaking, feet shuffling banger. Koker appears on ‘Heart Felt’ with Milli, another Reinhard joint and it’s a best of both world display from the young guns.

The bumps on the project are covered by Nosa who comes with his lush, smooth soulful vibe on ‘Love Is Calling’ a song produced by him, and DJ Caise with Ruby on the mellow House driven ‘Loose Soul’.

Versatility is a strong point on this album. Production on the LP is another strong point, thanks to the immense talent of the fast rising producer Reinhard. He has his hands on eight of the songs on the album. He stretches the sound of TICBN, embracing trap, pop, and Naija pop without losing the talents and their innocence on the project.

This album is a strong indication of what Chocolate City has to offer. With the old guard and the new kids showing what they can offer without the pressure of scoring a radio hit or club jam, the newly expanded Choc Boyz have produced a sweet sounding, confident, and dope display of their talents.

2. Falz – “Stories that touch”

Stories That Touch” is as conceptual as it comes in contemporary Nigeria. It’s a collection of stories that traverses all the different spheres of life with focus on love, happiness, hustle, emotion, heartbreak and the dark arts.

On the one hand, it’s a body of stories that democratises music, of how any story that deeply affects people can be milked and seamlessly infused into a genre which became popular for its exclusive Hip-hop heads. This is Hip-hop for the common man.

For the romantics, the album has Soldier with Simi, a jewel from the musicians who once again dovetails on a love ballad. ‘Celebrity Girlfriend’ is a satirical piece on vain aspirational love delivered by Falz and Reekado Banks. ‘Supe’ with Yemi Alade brings it to the doors of contemporary highlife, and ‘Love you pass’ has Bez adding extra class to the affair.

Time difference is a slow gem for distant lovers with emotional cravings, and ‘Chardonnay music’ appeals to your percussionist senses. Our collective hustle as a people and our individual strife to thrive is addressed poignantly in ‘My people’, and it’s combined with traditional common sense in ‘Workaholic’.

This wouldn’t be a Falz album without some comic skit, and he comes through with ‘Airline drama’. There’s also an appreciation in the final track ‘Everybody’, as the singer understands that his music is powered by mass affection and love.

“Stories That Touch” is everything a rap album should be and more. There’s something for everyone as Falz shows intense growth and mastery of sounds and harmony. Sess, who powered all via production stays fresh and disarmingly brilliant.

Falz is onto a good thing.

3. The Collectiv3 – “The Collectiv3 LP ”

A group of like-minded artistes have shown creative bravery and courage to create the ultimate album to remind everyone that artistry is the reason for the music.

The Collectiv3, a group of songwriters, singers, producers, performers, creatives, and facilitators have hit the scene. Eclectic and hippie as they come, the group consists of a number of familiar and talented people which include Temi Dollface, IKON, Funbi, Show Dem Camp (Ghost and Tec), Nsikak, Kid Konnect, and Poe.

These creatives, with all the abundant inspiration and conviction of how art should interact with the senses, rolled out this 9-track LP as the first project off their conveyor belt.

“The Collectiv3 LP” doesn’t get its influences from the prevalent pop sounds pervading the radio and all the popular music spaces. It comes from a place of originality. That place is pure, it is pristine and almost sacred.

You feel this deep primeval vibe as a religious chant ushers the work in, coupled with the opening clanging of the agogô on ‘Akintunde’. IKON and Temi Dollface are conscious as they dovetail on this song. Temi Dollface gives a stellar performance, and IKON shows his rap prowess.

The magic of the chanteuse Dollface is truly felt on her stand-alone tracks – ‘School your face’ and ‘Just like that’, as she gives away her signature genre Drama Soul. This she creates by fusing together seemingly disparate genres, informed by a love of the theatrical. Temi Dollface pulls from a wide range of sources, combining jazz chords with catchy pop hooks, and African percussion to create something that’s simultaneously fresh and timeless.

“The Collective LP” also serves as a showcase for artistes whose interpretation and expression of Africanism in music can be described as melodiously maverick. Funbi and Nsikan are these people. They have a tranquilising grip on music that can only be assimilated objectively. Funbi’s efforts are on ‘Forbidden’, Nsikak’s on ‘Happy Day’.

There’s also rap in this. A lot of rap actually. Poe, Tec, Ghost, IKON, and the featured Loose Kaynon, and M.anifest supply this, catering to more vocal aspects of music as a spoken art. The cautious ‘Shey bai’, the furious ‘Sexy B%$ch’, and the fundamentally eclectic ‘Judgement’ are as rousing as they are entertaining.

“The Collective LP” stands as a creative blueprint, which makes artistry the endgame of music. It is a stimulating competition which pitches musos vs the mavericks, the perfectionists vs the dreamers. It is intricate and intellectually poised, woozy and enthralling. It is art, made for itself, to connect, inspire, stimulate, and challenge.

Nigeria ought to aspire to this album.

4.

With a concise and encouraging 12-tracks (skit inclusive), “Day 1” sees Naeto C return to the basics of his art. Way before he experienced the disruptive influences of Nigerian pop sounds, and commercial African drum patterns. This is Naeto C, celebrating his primary skills as an MC.

This LP is a Rapcore album, with impressive nods to R&B.

‘Day 1’ begins this beauty with a meta track. Naeto C confirms his return to his first days as an artiste, reminding everyone of his penchant to roll with his buddies from the start. They created his influences, they are his ride and die goons. “The people who stay right behind me, beside me, they started from day 1.The mission was money, the motto was ‘fuck all you haters from day one’.” Naeto raps.

He goes on to deep introspection with the track ‘Bless’. It’s slow-haunting vibe, laced with an ominous ad-lib. “Nothing new out here, getting paid, I can’t afford to snooze out here…I just pray what we have, we never lose out here…who done like I did it, nigger show me one, who did it how I did it nigga owe me one.” This gets you thinking with each new line.

‘Soft’ takes a cue from this pattern. Naeto C’s combines swag rap with knowledge, as he lectures the hood way. “Spin a couple wheels, spend a couple bills, make the dollar bills, let me show you how to beg a nigga bills’.

In ‘Codeine Therapy’, Naeto C goes on a wild run into night-time partying, and the use of recreational drugs to attain a better high. In  ‘Helluva night’, the reflection and wordplay takes deeper but more feel-good form, as the singer delivers about keeping your head straight, making the money, and keeping it real.

Cue in R&B. ‘Og Bobby’ begins Naeto’s frolicking with the love genre. This is the most underrated aspect of his game and he shows dexterity in it. “Baby to be honest, I was hoping you and I could run thing. I got my mind thinking all the wrong things. Baby in the bed we could talk things. Bring that arse back, side to side…”

He brings on Maka Maka, for a duet in this genre. ‘Blown’ is straight out of the good old classic stuff. Naeto impresses again with this love-candy.

The album returns to Trap-beats, and keeps the reflection on track with Wizkid handling a stellar hook on ‘Oluwaloseyi’. This is a rare use of Wizkid’s talents, as Naeto combines with Starboy on a track so far from Wizkid’s comfortable Afrobeat. They make seamless music. Pidgin comes handy for the first time on the LP as the rapper goes on an ego trip in ‘It’s too late’. He goes in hard on another trap beat from Masterkraft’s production house. He signs out on another haunting note in ‘Confam’.

Naeto C is one of the best rappers Africa has at the moment. But his immense lyrical ability usually gets clouded by his adaptation to intense commercial sounds. By clicking the reset button, and combining his powers with a good taste in production, his shine comes to the front.

With these 12 tracks on “Day 1”, created by R&B, trap-beats, killer samples, and no Afrobeats, who misses his pop sounds?

5.

Titled LeriQ aptly names a work which seeks to bring to the fore, the melodic potential Nigeria has, and can offer. He calls onto the project, the best voices, and entertainers in the industry to make this a reality.

With 20 tracks “The Lost Sounds” is a fine journey through a number of genres, fusions, synths, and instrumentation.

Opening up with the inspirational ‘Where you dey’, LeriQ calls on the delightful cocky ego and arrogance of Illbliss, to share his grass to grace story. “let’s be honest you messing with the donnest, transaction stay very flawless, Aristokrat get money from the lungus, we clean it up, take it up to the uppermost, penthouse overlooking Lagos Island, drink a toast to the glamorous and arrogant…” Chidinma and Ozone complete the trifecta for this song.

Thematic materialism comes in again on the final track ‘Smell of success’, with Show Dem Camp, Sute and Tay dovetailing to bring in another story of the hustle in Lagos, and the reality of struggling for the right money. Sute captures this perfectly in his opening lines “It was still the same guy, used to push us on row, building buses on five while you guys courtside. It’s crazy, but I guess that’s just the gidi in me, now I got the whole city with me me.”

Love and all its friends are present in the work too. Wande Coal takes it to its highest point with ‘Wish List’, a song with Middle Eastern infusions, and soothing lyrics. One of the flagship singles of this work ‘Say you love me’ with Wizkid is an R&B anthem designed to express consuming affection for a lady. “Are you feeling the base, anything for youI no dey play, for your body baby I don dey craze, if you leave me I fit kpai,  baby I no dey play. Call me murderer, call me the number one lover. For your love I fit murder, put a bullet in your lover.”

Bez also comes through with the haunting hook for ‘Let me love you’ with Mojeed.

With the sounds still experimental, the ‘turn up’ songs are present. ‘Comment tu  T’appelle’ have long been consumed and loved.The meta-christened ‘Turn up’ with Burna Boy and Phyno flows nicely. ‘Aunty’ with Timaya is clichéd.

In ‘The Lost Sounds’ not all of LeriQ’s experiments get to pay off. He pushed the process too far with Nneka doing an incomprehensible number on ‘Stand still’. Also, the Northern-inspired ‘Nagode’ with Naeto C and Kamar Tachio sounds too drawn-out.

But he gets it super right by shoe-horning Pucado and his Eastern flows on ‘Labata’, an indian rock song. Then came the standout song of the album. It’s 2face Idibia loosing himself in his most spiritual conscious music on ‘Answers’.

LeriQ’s quest to highlight the ‘Lost’ sounds which have become eroded by our definition of commercial music and pop sounds is a noble one. His intentions are pure, and his work stands out from this pool of lucre and the pursuit of the next big hit.

A 20-track journey through a maze of experimental instrumentation and new music is a good way to retool your musical senses, and appreciate the beauty of sounds. The potential for good music and creative originality is existent in our industry, and LeriQ captures it perfectly.

6. Darey – “Naked”

When has traditional African talking drums formed the base around which a body of work from a mainstream artiste is built? When has the simplistic percussion foundations of African music being so incorporated in this age of mainstream synthetic beats and software glory?

When has the beating of wood and hide been so melodiously brought into the mix of Nigerian pop culture by a man brave enough to stake his next career move on it?

Darey is now that guy! The singer is the proud owner of 3 albums including "From Me To You" (2006), "unDAREYted" (2009) and the double LP "Double Dare" (2011). A fifth has been created, and its direction is retro, yet packing a refreshing modern twist to it.

A conceptual piece of beauty, Darey draws inspiration from the origins of Nigerian music, employing the rhythm and soul of the African talking drum and syncopated beats while drawing from a wide array of traditional and contemporary musical influences ranging from Highlife, to Afrobeat; from R & B to Hip-Hop. The album surely has a song for every mood and occasion.

“Naked” begins its journey on the deep, yet groovy ‘Asiko Laiye’, Darey opens the album with lush drum patterns, piercing brass arrangements and a mellow bassline, which sees the maestro in his full element, with his velvety smooth vocals.

The LP seamlessly continues with heavier drum patterns, as a primordial highlife cut ‘Òrékeléwà ushers in a soothing romantic, and personal feel. This is reminiscent of the 70s pop culture, and it continues with no segue nor tempo shift in ‘You’re beautiful’. The rattles come to the fore, and the drums are unbridled.

Darey chooses at this point to step in with his first love – R&B. There’s heartache in here, and longing for more than what love is. ‘Love you die’, is the ultimate promise to a woman, and Darey achieves this smoothly. In ‘Inside of you’ he keeps this up, although with improved brass presence and the powers of Asa. She brings pure joy as they both make music.

Cue in the piano and a different class of percussion. Darey gives attention to his vocals as the plucky piano accompanies him on his soulful heartbreak ballad ‘Lie to you’ . The mood hits rock bottom, and happiness takes its leave, as the curtains are drawn on life. The drums come back, but only to let the spirits grow and sour with the soul-piercing lyrics that ‘Pray for me’ offer to you. ‘Aya mi’ picks it up though and love comes in strong again.

Olamide gives auditory variety to ‘Asiko Laiye’ remix, but his impact on the message is unconvincing. In 'Delilah' Darey achieves a 360 degree turn. We are back at our first joy as he samples the golden classic ‘Taxi Driver’ from Bobby Benson.

“Naked”, is a raw expression of sound and ideas, which strips away pretense and exposes the very depth of Darey’s musical essence and emotions. In his usual fashion, he shies away from making superficial tunes and rather opts for substance over trends.

Darey saves his conscious fruits for the last. The Pan-African ‘I go make am’ is affirmative, and ‘Champion’ incorporates the winning shot.

7. Orezi – “The Ghen Ghen”

Orezi had an EP released in 2010. It was titled , and housed decent tracks such as ‘High B.P’, and ‘I no fit lie’. But that was just a snippet of his ability. Time and experience has honed him into a fine pop artiste, and more hits such as ‘You garrit’, ‘Shoki’, Booty Bounce’ and Shuperu’ has been spawned. He has put forward his next foot, and released his debut studio album “The Ghen Ghen”.

First time lucky, as no one but an inveterate, deluded trier says. Still, that's the case here. “The Ghen Ghen” is as inspired by pop culture as every other single he has put out has been, a 75-minute, 21-song journey through every idea in Orezi’s cranium.

A number of these songs are amazing. The “The Ghen Ghen” album was crafted with an eye on slotting seamlessly into pop culture, while serving the best of music. Orezi harmoniously weaves in and out of genres, in ways so beautiful and mundane, and keeps you listening.

Less of a concept album, more of a patchwork, “The Ghen Ghen” runs together not so much seamlessly as breathlessly. The unusually smooth transitions from the personal and direct lyrical flow of the opener ‘Asiko’ to the cocky-Afrobeat glam thumping of ‘Maserati' ("I woke up in a new Maseratti") to the gorgeous banging club-lovers dancing of ‘Shuperu remix' with Davido feel like they're leading to something, but it's illusory.

Soon everything's thrown into the mix – another meaningless but dance-worthy waist-rolling commercial music aptly titled ‘Low low' ("I get money for back, I get money to dash, wind am for me like that, roll your big yansh”), Then interestingly, some soothing deep, inspirational Afrobeat number which Fela would have approved fondly on 'Double your hustle' – as snippets of other genres flash by, until a stop at the heavy collaboration ‘Big Something’ which has the mastery of Flavour, and the genuine joy of M.I Abaga.

Another heavy hitting collaboration comes along just fine as pop stars Wizkid and Timaya find home in ‘Ogede’. Further down, Ice Prince brings on his versatile lines on ‘Jesus Pikin’, and 9ice is still a work in progress on ‘Da party ru’.

This attention-grabbing approach works. It comes off as a burst of colour, a true African pop effervescence with little room for the dull stuff. Maybe it would've been nice if Orezi added more experimentation and some more flavour to, say, the romantic romp of 'Sweet Yarinya’ and ‘Selfie with you’, but that wouldn't be the point. It’s “The Ghen Ghen” album and Orezi is doing what he wants. And, this time, others will want it too.

8. Wande Coal – “Wanted”

A 17-track album (minus three skits and two bonus songs) “Wanted” eases Wande Coal in with a bang, that sees him feeding off the input from fans, internalising that energy, and creating music to find equilibrium for his commercial and artistic parts.

This album throws it all at you. It starts off on a mellow note as Wande Coal drops the slow-burning and religiously thankful track ‘Adura’. The subject shifts gears, and the classy R&B ‘Superwoman’ gives you a sense of Wande’s soul. He is less ‘musician’ and more ‘artiste’ who happens to use music as his canvass, and love as all shades of colour.

There’s a sense of light freedom as ‘We ball’ shows a more comfortable Wande Coal, but he exerts himself on the Hip-hop cut, ‘Same shit’ with AKA.

The pace gets altered with arrogance, as materialism becomes evident in ‘Monster’ and ‘Wanted’. This is Wande Coal at his best. There is character, rhythm, progression, twists and bounce on these tracks. These songs hark back to his glorious and free past, which he reinvents with élan.

Wande Coal’s core African artistry is thrown into the mix, as he works with elemental sounds of highlife and folk on ‘African lady’, ‘Iyawo mi’ and ‘Plenty love’.

But while the happiness from Wande Coal can be overwhelming, he gets a bit of a downer as 2face Idibia is shoe-horned onto a song which can be described as gritty cuisine. There’s an underlying sense of enjoyment, but it all fails to come together. ‘Lowkey’ gives a window into reggae-dancehall.

The last four songs ‘Jelly’, ‘Baby Hello’, ‘Wanted’ (Remix), and ‘Kpono’ ft Wizkid are a sprint through the radio friendly pop songs. Wizkid gets the job done on ‘Kpono’, a typical commercial jam which ticks all the boxes for the ultimate radio jam (pacy instrumentation, catch-phrase, stardust, and not a lot of sense).

The remix of 'Wanted' was skewed with a reggaeton infusion which drifted too far to accommodate the elements of Burna Boy's art. Meeting him in the middle too something out of it. Sound was sacrificed for stardust.

Wande Coal’s album returns to a scene which has left his space untouched in the industry. No one singer is the total package, or comes close to it as Wande Coal has. “Wanted” album, more patchwork than conceptual album, but it throws in Wande Coal’s superior hat into the ring. A hat that combines dexterity of sound, and a shrewd understanding of the market. Wande Coal is back to his art. This is good for Nigeria.

9. IllBliss – “#Powerful”

"Omo the swag is Abu Dhabi, the hustle Kamikaze" spits Illbliss into the microphone of the Capital Hill studio. This line which is now embedded into the track known as 'Many Men' featuring Wizkid off his latest album '' sums up Ill Bliss' mind state right about now.

With his third album, Ill Bliss a.k.a Oga Boss is putting his hat in the ring for the contest for Nigeria's best rapper. It's been a while coming for the Thorough Bred leader. Apart from being his best work so far, this time around he has the arsenal to be mentioned amongst Nigeria's finest rap spitters.

"Trafficante, I started from the bottom up/Now we balling with the cream of the fucking crop-Stop!/Can I make a little cocky speech" raps Illy on 'Munachimso' featuring Peteru (formerly known as Suspekt) and Jaywilz who sings a hustler's anthem hook filled with Igbo soul.

Horns blare and a vocal sample haunts on 'Chukwu Agozigo Gi' that has Illbliss paraphrases his come up with the brief but punchy narrative- "We dem boys/dem Igbo boys/came a long way from Coal City blocks to 1-G-4."

Infusing a lot more Igbo in his music to align with Tribal Hip Hop that is burning hot in Nigeria right now, Illy concocts the trap hustler gem known as 'Bank Alert'. It's hard not to see traders in Aba and 'Nna' traders nationwide not spraying money the Igbo way to this. In his entire discography this is Ill Bliss' best hustler track.

The big balling continues on the posse cut 'Finally!' featuring Peteru, Chidinma, Fefe and Mz. Kiss. Sometimes the lavish lifestyle he wants to paint might be a little bit over the top "this garage opens up to the other garage/then it opens up to the other inner garage/Oga boss is the largest/dine with the finest belly dancers from Morocco/we local/Iroko- we stand with authority" but you can't discard the feet shuffling factor of the track weaved together by Peteru.

Thematically materialism is the core of this album. And with money and big spending comes the bullets directed at the haters. Illbliss sends his new signee Mz. Kiss to harass the haters on 'Vex For Me' featuring Peteru. Her Yoruba style of rap is similar to that of Olamide- the reigning king of the streets.

Speaking of Baddo, he appears on the ill fated Young D produced Wtf! (remix). The original version was a miss and the remix follows suit. Also by the time you hit the second Tony Ross produced track 'Jamo' featuring Cynthia Morgan you get tired of the thumping bass line and whirling synths. Another misstep is 'L.O.V.E.Y.O.U.(Remix)' featuring KCee  and Ayoola that doesn't sound suited for this grandiose project.

Thankfully there are enough tracks to hide the cracks. Leaning on his purist foundation, Illbliss becomes introspective and highly thoughtful. The pounding 'Different Kind Of War' happens to be one of the best introspective song by a Nigerian rapper in recent times. With the opening line 'another bomb just went off, we are numb to this" Illbliss highlights our insensitivity to the plight of the nation.

The rising Igbo soul sub-genre shows up again on 'Uwa' featuring Stormrex. On this song Illbliss contemplates about the stress and hassles of being on top. "You're the man, you're the god, you're the myth/hypocrites all fall to your feet/but when it all falls down look around you" he says with a tone of inevitability about the fall of a king who believes in his own hype.

17 tracks long, '#Powerful' sees Illbliss confidently mounting the his position in Nigeria's rap game. By sticking to core theme and slimming down on the radio tracks, Illy Gatti produces the best rap album of his career that is technically and artistically strong. While we have two kings on a throne and an Alaga Ibile of rap, Illbliss is here to be the boss of Nigerian rap music.

10. Runtown – “Ghetto

Runtown’s ‘Ghetto University’ isn’t a masterpiece but easily makes itself a syllabus and rudimentary reference point for upcoming Nigerian Pop artistes who want to try out multiple genres in their musical sojourn.

With hit singles 'Bend down pause', 'Galllardo', and 'Anything', the album possesses amazing themes upon which he tells the lessons from the ghetto, and how he has attained fame.