“What makes Jim different, is my charisma and charm, made bold by my confidence and self-belief. Lyrically top tier and ready for an international stage. I feel like I’m so different that home feels smaller now,” says Jimmy Wiz.
The artist from Kempton Park comes from a long line of great emcees that have come from the East and he’s very much aware of this, but is certain of what makes him stand-out. “What’s crazy is, the East always breeds the best in the game. I swear there’s something in the water we drink.”
Jimmy Wiz was speaking to Tha Bravado, at the backdrop of releasing the So Into You freestyle music video. The song is a remake 90s R&B classic by Tamia, So Into You.
“The idea actually started off with Ella Mai’s Boo’d up song, which I also recorded on (Available on my Soundcloud titled Butterscotch) and had the ever so beautiful Pharoahfi as the cover of.”
“I then began to realise that people seldom hear this soft side of Jim, and so I decided to start a campaign called the Ladyz Love Cool James the modern day LL Cool J. A more female friendly Jim.”
The ladies and gentlemen that makeup the Hip Hop community were familiar with the lyrical beast and storyteller that is Jimmy Wiz, during his days as a member of rap clique P.STAT and also his time on Vuzu’s The Hustle. The So Into You remix features Carol S, Korusbird and Benzo who all served their purpose on the joint.
“This may not be an original as far as instrumentals go, but we owned the song. And it captured that nostalgic feeling with a new twist. Tamia and Fabolous would be proud,” he says.
The song officially came out on Valentine’s Day, with the video shot this month below dark skies, under the direction of Mgeezy. “I remember getting the call from the director like, ‘what you doing on the first? Matter of fact, postpone everything we shooting’ [lol]. Because of the trust I have in Mgeezy, there was no need for me to step into his creative space. He took the reins and I was ready for any and every idea he had.”
The So Into remix won’t be on Wiz’s debut album, Accordin to Jim. “The Song was made to celebrate love during the month of love, and to emphasise the growth of my artistic value through the Ladyz Love Cool Jim campaign. I went from ashy to classy as B.I.G would say it.”
“My debut album Accordin To Jim is set to take centre stage in 2019. I can safely say the album is complete, all masters have been handed. As far as sound goes, nothing short of great music. Matter of fact, nothing short of classic. If you thought you knew what to expect, then you have another thing coming. Accompanied by the incredible lyricism.”
Jimmy formed lifelong relationships with other emcees during his time on The Hustle, none better than finalist ShabZiMadallion. The two released a collaborative project titled, Look At The Team. But hinted that people shouldn’t expect collabs on Accordin To Jim with some of The Hustle alumni.
“But as far as collaborations go, that’s a question that is extremely hard to answer. Too many factors come into play, and because of that, sometimes things don’t happen the way you’d like them to. It’s all God’s plan.”
YOU remember how impeccable J.Cole’s 2014 Forest Hill’s Drive was. I think he was also shocked with how good that album came out. I think Solange Knowles felt the same way after making A Seat At The Table.
But the difference between the two artists, is that Cole tried by all means to steer away from anything remotely similar to like F.H.D when he made 4 Your Eyez Only. Beyoncé’s younger sister on the other hand, attempted to make another Seat At The Table-or at least a more esoteric version, with When I Get Home-but failed.
The album lands on the ear as an incomplete project because of the annoying number of interludes. As soon as I tried to engage with a track, it abruptly ended. It’s like she made the album based on research by scientists, about the short attention span of today’s youth. Over 10 tracks are less than three minutes, not to suggest a great song is defined by its duration, but one gets a sense that Solange didn’t have an idea of what to do. Instead, she horrendously used Seat At The Table as a template.
This album lacks direction and makes me wonder how much of a contribution she had in her previous album. The legendary Raphael Saadiq was the executive producer of the project, along other producers and musicians who’ve been in the game for decades. When I Get Home seems like Solange’s way of being young and hip, to be more appealing to the youth. Some of this album’s producers include Metro Boomin, Dev Hynes and has contributions from Tyler the Creator and Earl Sweatshirt.
Sonically this album isn’t far off Seat At The Table, but it’s short of a solid theme and cohesiveness. It’s the kinda project that makes the producer look bad. But having shat on the album, I admit there are some enjoyable ditties on the project like Way to The Show and Down with the Clique. True to its name, Dreamy was quite dreamy and airy, I didn’t mind repeating the song. These are tracks that didn’t hit me at first go, but with time, I got into their vibe-if the album was a stand-up comedy special, I’d have to watch it again for those few jokes I had to nit-pick for laughs.
Time (Is) is the only track that hit, from the word go. I enjoyed it, especially the switch of the beat later in the song, where Sampha’s backing vocals give it so much body.
Most artists have a bad album in their career, but I didn’t expect Solange to deliver it right after A Seat At The Table. That I’ve mentioned her previous album countless times on this review tells you that When I Get Home ain’t that ayoba.
TODAY marks 14 years since rapper ProVerb released his debut album, Book Of Proverb. The project came hard as debuts come, setting the emcee as one of the best lyricist to come out of South Africa. And the world.
Tebogo Tekisho has grown to become more than just a rapper in the industry, now a radio personality, a voice over artist and a television producer. Regardless of the uncanny strides the rapper has made outside of music, he remains one of the fiercest emcees in the country when talking lyricists. Book Of Proverb is the sort of album every kat needs to listen to, for lessons on how to create an authentic Hip Hop album. Because like he said on Microphone Sweet Home
…I drop knowledge, buying my album is like paying school fees, so take notes while I tutor emcees…
Here are five reasons why Book Of Proverb is a classic album:
The first box to tick as an emcee, or any participant in the Hip Hop culture, is whether you’re a genuine person or not. ProVerb didn’t come in the game claiming Cape Town or Joburg as his hometown. He is Kimberly’s finest diamond. I can imagine the sense of pride that people from the city of diamonds had, when they heard Kimberly Rise.
But true to who he is, ProVerb didn’t paint a picture with glitter of the Northern Cape city, he spat about the harsh realities of the place-the high suicide rate and unemployment. But it gave so much hope to the people that, if he can make it outta there, so can they-and that’s some real shit!
Back in the day you’d find them lyrical-miracle typa dudes walking about with dictionary in hand, rapping just about anything. This way of rapping often crept into their albums, where they would go on a 20 track tangent. Book Of Proverb was quite solid, taking us into the rapper’s different chapters in his life track-by-track. It could be a long album in today’s project duration, but because of its cohesiveness, you kinda forget that it’s a 15 track album and just let it play.
The first verse on My Vers’d Love, where ProVerb paints a vivid picture of his love affair with Hip Hop dating back to his school days, is one of my favourite verses of all time. Even on Where Did She Go, ProVerb takes you through his relationship with a beautiful mysterious girl he first exchanged eye-contact with while performing, to ending up in the sheets with her. His storytelling is gripping as series on Netflix.
HIGH QUALITY OF LYRICISM
Very few kats can easily drop punchlines, metaphors and similes like ProVerb. Some kats have great vocals, and exceptional flow to help better their whole product. ProVerb relies on his skill as an emcee.
Who can touch the Pro’s style? None of
You, barely move me like a school bus with no driver,
Who can bust a flow lava, and who got enough rhymes to be your entire
Crew ghost-writer, the provider,
Grow wiser than a story told by an old timer,
I’m burning up the charts with more fire,
Today’s reading is taken from the Book of Proverb,
It’s chapter One verse one
He raps on Index.
Although this is an album for Hip Hop heads, you gotta appreciate its musicality. It has songs that are appreciated by people aren’t devoted followers of this Hip Hop culture. Women, which is an ode to all the women in his life and those across the globe, is a beautiful track that I’ve always felt was slept on. The song is cut of the same cloth as the 2PAC’s Dear Mama and Nas’s Dance.
Songs like Heart Beat and I have A Dream were songs I heard on YFM back in the day, which were instantly appreciated by the station’s various listeners. Sex, Drugs and Alcohol where ProVerb teams up with Tumi and Zubz is a fun joint that puts a spotlight on the dark side of media and entertainment industry which trips a lot of young people.
I shit you not, you can Google Mam’Dorothy Masuku and ‘Masuka’ will pop up. Growing up, I’ve asked myself countless times what Mam’Dorothy’s correct surname is.
We live in times where assumptions of how someone’s name is spelt could land you in trouble. Not all Shabalala’s are slept with a ‘T’, in the same way Khoza can also be slept with an ‘S’. So I’ve always been unsure about the legend’s last name until I learnt that she was actually a Masuku.
In the 1950s, when the vocalist with an elegant voice began her career, a record executive misspelt her surname by adding the first letter of the alphabet at the end of her last name. The Caucasian executive butchered her Ndebele surname on one of her first records. Headlines today, carry the weight of the perilous ‘A’ at the rear of her surname. But this is because the young Masuku was told that Masuka will be her stage name. “She said she had kinda accepted it because in the Jewish language, the word Masuka means being happy, happiness or something like that. So she kinda let it slide,” said singer Tribute Birdie Mboweni speaking in an interview on Kaya FM.
Mboweni is one of the very few young singers that celebrated Masuku while she was still alive, by creating her own modern renditions of music originally done by Mam’Dorothy.
Born in 1935, in Bulawayo Zimbabwe but moved to South Africa as a 12 year-old and in less than 10 years in Mzansi, she was already touring the country as a 19 year-old. She passed away on Saturday the age of 83, surrounded by family. She’s expected to be laid to rest this weekend.
EVER found yourself genuinely delighted that someone is happy, despite your opinion of the reason for their happiness?
Like how an attractive damsel would be overjoyed by shedding some kilos, you’d obviously acknowledge her achievement of reaching a personal goal, but in the back of your head know that she doesn’t need the number on a scale to validate her beauty.
That’s how I felt Monday morning, watching highlights from the 91st Academy Awards. It was when legendary film director, producer and writer Spike Lee went to accept his first ever Oscar award for his recent film, BlacKkKlansman.
One of the best films ever to be made, Do The Right Thing, which Spike wrote, directed and produced in 1989 was snubbed by the Academy awards. Earlier this month, speaking to The Washington Post Spike was quoted saying “This is not in any way disrespectful to the Academy, but after Do The Right Thing, I just said ‘you know, whatever award it is, I’m not going to let myself be in a position where I feel I have to have my work validated.”
That quote alone lets us into the pain Spike felt from the 1990 Oscar Awards. On the other side of coin, his elation on Sunday night’s ceremony demonstrates how much the award means to him. And accepted the award with a moving speech.
I have not watched BlacKkKlansman, so I can’t say if Spike deserved the award for that particular movie. But on Tuesday morning I posted on Facebook that Spike is too great to be excited by an Oscar. Without trying to throw shade at the irrepressible director, the point I was merely trying to convey was that great artists don’t need to be certified by the academy institution to sanction their prominence. Especially black artists.
But what stood out for me, was how most of the young creatives on the social site, liked, agreed, loved and even shared the post.
I get why Spike was hurt by Do The Right Thing‘s loss, and why 30 years later, he jumped on Samuel Jackson’s arms like a lil kid, in accepting his award. Think about it, Spike was 32 years-old when the awards that celebrate cinematic excellence took place in 1990, and they had been taking place for more than 60 years. So you can imagine the clout, prestige and significance of a recognition from the Academy to a filmmaker born in the 1950s.
Not to suggest today’s young creatives don’t appreciate or yearn even, for industry recognition. There’s disinterest and distrust towards “honours” from industry gatekeepers. In music and film.
I was my mother’s one year-old sweetheart when Malcom X (also directed by Spike) was in cinemas. I watched the film years later and was astonished to find out that Denzel Washington, who played the US political activist, didn’t take the Best actor award in the 1993 Oscars. Why would I trust them, if they dismally failed to celebrate Denzel’s finest piece of acting?
Young artists don’t trust these institutions. After winning his Grammy last month, Drake gave an acceptance speech that displayed the power that today’s artists have taken from these ceremonies. “We play in an opinion-based sport, not a factual based sport. It’s not the NBA where at the end of the year you’re holding the trophy, because you made the right decision or won the games. Look, if there’s people who have regular jobs coming out in the rain, in the snow, spending their hard-earned money to buy tickets to come to your shows. You don’t need this right here. I promise you, you already won.”
Poignant words from the Canadian rapper on the Grammy stage, basically giving the prestigious music awards a polite middle-finger. And this by the way, is from an artist who a few years ago gave away his own Grammy awards on Instagram to artists who he thought were snubbed.
Social media has allowed artists direct access to their fans. Artists are continuously on the receiving end of affirmation from their followers, reminding them of the real impact their art has. Do The Right Thing grossed over $30 million in cinemas, with a budget of less than $10 million. I wonder how Spike would look at that snub, had the movie came out during the prevalence of social media. The validation that comes with seeing people from around the world, celebrating your work would have some effect on your view on awards. Black Panther director Ryan Coogler, said he appreciated how 2018’s big movie was appreciated by the audience.
While celebrating the Grammy wins of Cardi B, Jay Rock and Anderson.Paak on Twitter, J.Cole mentioned how this moment for them, is bigger than the awards could say.
Of course there are senior citizens in Hollywood who’ve had this thinking long before, like Woody Allen who has never accepted awards from the Academy. “The whole concept of awards is silly. I cannot abide by the judgement of other people, because if you accept it when they say you deserve an award, then you have to accept it when they say you don’t,” said the dodge old man.
I personally don’t have an issue with awards per se, it’s people running these bodies that I have gripe with. Black creatives are always chasing to be recognised by Caucasian-led institutions.
Someone made a point on my post on Facebook that Spike was also celebrating the milestone because of the tireless work he’s done as an activist for the inclusion of black people in Hollywood. I honestly believe it’s through the work done by people such Spike, that Black Panther and even Jordan Peele’s Get Out won Oscars. It’s through the noise he’s been making.
That’s good and all, but do we still need to be making noise about not being appreciated by white people? why should we fight for inclusion into institutions created by Caucasians ? Our generation doesn’t want to live out its blackness through white norms.