“The eye sees what the mind believes” and that is a scary thought considering that most of us as children of the soil, believe whatever they want us to believe. Zothile ‘Solo’ Langa wants us to believe that it is possible for a South African celebrity pretty boy to possess a high capacity for introspection and an above average level of critical thinking.
My default setting when it comes to dealing with pretty people is the prejudiced idea that evolution does not allow them the development of interesting genuine personalities and/or characters. Consequently, I was sceptical when a fellow shinobi declared that Solo’s latest musical project is fire and an essential addition to the playlist of anyone who considers themselves a mature Mzansi Hip-hop head. I have no frame of reference as it pertains to Solo’s musical journey or growth because this is the first time I have listened to any project by the Diepkloof native. I have always viewed him as a rap purist whose focus was more on lyricism than the music and I generally lack an appetite for such artists. After listening to Solo’s latest offering C Plenty Dreams, I feel bloated from the shit load of humble pie that this mo’fo has been feeding me and I have nowhere to hide my shame.
Sonically, Solo generally fuses kasi and isiZulu vocal samples with mellow melodies to create a laid-back and familiar sonic textures, which often feels uniquely South African without the usual pretentiousness that one gets from most mainstream Hip-hop artists trying to reach a wider market. Upon these textures he lyrically delivers priceless gems of wisdom to the young urban black youth of Mzansi. In the retrospective joint Imali he starts the track with a menacing sangoma chanting sample and later questions the instances of “bottle wars” that often occurs in SA’s nightclubs What is boasting anyway if it ain’t a hate on yourself…
On my favourite song on the album Imposter Syndrome, he explores the process one goes through in order to reach their dreams and/or goals by offering practical and authentic insights on how to approach such a dilemma “...jump on the stage while picturi’n people naked everybody naked, people just say shit, kodwa that’s one of my favourites…how do we walk around downplaying victories, highlighting miseries often eclipse…I’m talking about the delusion of chasing perfection while flaws are what sharpens the gift…”
It is clear that Solo has put a lot of effort into improving his creative process in order to become more musical without losing his lyricism. With that said one feels that the back end of the project he reverts back to his hold habit of monotonously rapping with generic vocal inflections which are void of any real emotions. In the kwaito influenced joint Promises, he predictably features Kwesta who recites some throw away verse to get that feature money and royalties. Solo delivers some wack ass rhyme scheme which one has heard a million times before “…I have had the visions since u pikinini ngi gijimisa u grot, figuring the business get my business get my niggers out of the woods…” In the following joint Ubuntu Babo he goes into a double-time rapping tiered which makes my eyes glaze over with disinterest over the entirety of the joint. Hypocritically though I love the last track Take me which is a boom bap tribute to Hip-hop legends who passed away in 2018 “…I have lost heroes that’s how villains are born…the cloth that I am cut from isn’t withering the storm , and what is a left is expensive fabric that you new niggers know nothing about… “
The two interludes in this project, Highlight reel and Show the Bloopers are touching monologues by his parents which leave a “broke-ass-know it all” blogger with daddy issues feeling a bit tender. In the first interlude his mother reflects upon the circumstances that have led her towards living a spiritual lifestyle and how that ended up influencing her children. In the second interlude Show the Bloopers, Solo starts the joint with a cold eight bars which contain a moving tribute to Gugu Zulu
“…I was a defrabulator with those with no pulse, really shouldn’t be looking in those parts, pull the fuse and leave the room with no spark, Gugu Zulu put me in a go cart, who would have later known later that I would be so clutch, hope his daughter knows he had the biggest heart”
This is followed by his father, who dishes out compliments about Solo’s work ethic “…to do the right thing…ireward of doing that…iyazizela…when a person thinks about doing good right.. some people say ‘I do good so that should I die, I go to heaven’…and let’s say there is no heaven but you would have lived a good life…If you do something correct, ireward iyayizela…I promise…you will see”
In totality this project is dope as fuck, not chart climbing and internet breaking kind of dope. The hidden gem kind of dope, buried underneath the pop singles of the Nasty, AKA or Casspers of the game. This album is an important contribution to Mzansi’s Hip-hop culture because it is a clear indicator that our music can be more than just a bottle pusher in the North of Jozi. Hip-hop can be an authentic contributor to this country’s story and legacy. Due to that fact, I can’t wait for the next album from this not-so solo any longer pretty boy.