Michael Collins Ajereh could not have reacted better to the end of a business era with his friend and partner of many years, Dapo Daniel Oyebanjo than he did last week with the launch of his new Mavin Records. It was sad to see what seems like a partnership made in heaven between the young men we easily identify as Don Jazzy and D’banj go sour, but, hey, life must go on. And the former was the first to give us concrete proof that he had indeed moved on, with a new record label and an album of brand new music.
Having known and interacted with both men in the past, I didn’t expect Don Jazzy to launch a verbal attack on his erstwhile partner in the media to justify his side of the breakup story. Tried as hard as many journalists did, the young man refused to grant any interview or leak emails of what he did right or wrong in the happy days if Mo’Hits. I remember a younger colleague telling me Mr Ajereh’s refusal to open a can of worm like his friend did was not good for the media who needed something to feast on to serve a delicious meal of exclusives, garnished with the right ingredients like scandals and backstabbing.
While D’banj spoke freely about his role, position, influence and material contribution to Mo’Hits on platforms like Ebony magazine, Sahara Reporters, BET and Nigerian Entertainment Today, Don Jazzy was locked up in the studio brewing a collection of songs that intoxicate. Save for occasional tweets to announce the end of an era and to ask people to respect his right to silence, the young man’s lips remained largely shut. He simply refused to speak about the Bentley reportedly given to him, the profit-sharing policy in Mo’Hits, delay in release dates of albums, how the deal with Kanye West’s G.O.O.D Music left a bad taste in some people’s mouth, his deal with Samsung in South Africa or his movement out of the apartment he once shared with D’banj.
When he finally decided to speak, it was with an album that practically knocked the air out of people’s stomach. Very few people saw it coming. The man of little words spoke volumes with the arrival of Mavin Records and release of an album titled Solar Plexus.
Mavin rose from the ashes of what used to be Mo’Hits Records. From the latter came Wande Coal, Dr SID and D’Prince who, along with D’banj, were members of the collective once known as Mo’Hits All-stars. With D’banj and his brother K-Switch out of the mix, Don Jazzy now has a not-so-new posse of tested hands working on his conveyor belt of hit music. Wande Coal and Dr Sid already have a hit album to their names in the form of Mushin 2 Mo’Hits (2008) and Turning Point (2010) respectively. D’Prince may not have a full album yet but he has long issued a statement of intent with songs like ‘Omoba’ and ‘Give it to Me’. If that is not good enough, there is a new entrant who goes by the name Tiwa Savage. Her stagecraft and sensual voice makes her a steal.
Speaking in his usual measured style on the eve of the release of Solar Plexus Don Jazzy confessed that “I know that there are questions unanswered; mysteries unsolved and wounds to heal,” but declared “I would really appreciate if we allow time to heal them up for us instead of digging them up again.”
He also told his fans “I see Marvin Records being the powerhouse of music in Africa in the shortest possible time. I know Rome wasn’t built in a day, but with a lot of hard work, a good and God-fearing team, our friends and fans, TV houses, radio stations, press, bloggers and most of all with God on our side, there is nothing we cannot achieve. It is going to be a very exciting journey from here. I can’t wait to show you guys what we have planned for you all. We have some other Marvin that are not activated yet and still under construction but I’m positive you are going to love. Please open up your heart, lend us your ears and support us always and let’s continue to entertain you.”
And they did set out to entertain on Solar Plexus starting with s song titled ‘I’m Marvin’ featuring all four artistes on the new label. That is the only track presumably done by all of them. Individually, Tiwa Savage has ‘Omo Ga’ to her name. Wande Coal is credited with ‘See Me Ri’, ‘Forever’, and ‘Pretty Girls’, Dr SID comes with ‘YOLO’, ‘CPR’ and ‘Chocolate’ while D’Prince rounds off with ‘Take Banana’, ‘Why you over There’ and ‘Amarachi’. Two things are markedly different from Mo’Hits All-stars Curriculum Vitae (CV) of 2007- there are no collaborations and Mr Entertainer (D’banj) is conspicuously missing.
Even the most unsparing critic cannot deny the energy and artistry D’banj brings to music. He was the biggest name on Mo’Hits roaster. Don Jazzy would not have been the successful producer he is today if he had not met with the Koko Master in the JJC and 419 Squad back in the UK some eight years ago, and being at the right place at the right time has done a lot for their careers. There is no greater proof than at the 2004 Nigerian Independent Concert in London. The two had been abandoned backstage because of an issue with the 419 Squad. With Eedris Abdulkareem who was the advertised star act not moving the crowd that night, Ayo Shonaiya and DJ Abass, the two organisers were persuaded to give D’banj and Kween Onakala some time on stage. Don Jazzy stayed back in the DJ booth because he was too shy to go on stage. With his harmonica, infectious lyrics and rhythmic movement, D’banj practically killed the show with songs like ‘Mobolowowon’, ‘Ask Me’ and ‘Tongolo’, all produced by Don Jazzy. The two have not looked back since then.
Moving to Nigeria, they expanded their coast, adding more members to Mo’Hits and releasing hit upon hit. They must have lost count of their numerous honours and award home and abroad. Success brought fame, money and adoring fans. It also brought a certain Kanye West.
After signing a deal with the latter’s G.O.O.D Music, D’banj tweeted on his 31st birthday on June 9, 2011, “Just like yesterday, myself and my brother did Tongolo. 7 years later, Mo’Hits signs with GOOD Music. Best birthday gift ever. God thank you.”
G.O.O.D Music was later turned bad for their relationship. I shall leave it at that for now. Something, however, tells me that all that glitters around Kanye West-including regular rendezvous with Kim Kardashian, Jay-Z, Beyoncé and a bevy of other bootylicious young women – is not gold.
Thankfully, both men are moving on with their lives. As fans are either downloading or buying Solar Plexus in traffic, D’banj is also enjoying the success of his Don Jazzy-produced ‘Oliver Twist’ which made it to the top ten on iTunes chart in the UK last week. I am not yet sure how Kanye West can take D’banj world-wide, but I expect his appearance in his videos and concert to make some impact in the UK where there is more tolerance for African pop music.
Being an artiste and a producer himself, Kanye West probably knows who he needs more when he signed the deal with D’banj and Don Jazzy. And in this game called showbiz, the first question everybody asks is what is in it for me.
A good producer can make a good artiste just as a good artiste can make a good producer. In the intro of his 1993, ‘Doggy Dogg World’, American rapper, Snoop Dogg made reference to one of the biggest soul and R&B band in music history when he said, “You without me is like Harold Melvin without the Blue Notes, you will never go platinum!”
Ask anybody with a fair knowledge of American music of the ’60s to the ’80s and they would probably tell you how Harold Melvin led the band that produced classics like ‘If You Don’t Know Me By Now’, ‘I Miss You’, ‘The love I lost’ and ‘Don’t Leave Me This Way’. The most popular member of that band was not the leader but a man known as Teddy Pendergrass. With TP on the vocals, the band enjoyed their most glorious years. Creative and business differences later saw Teddy leaving, but the group held on. Others came and left but Harold held on to the group because he knew he would never go platinum without it. Teddy too had a successful career as a solo artiste even with an accident that left him on a wheelchair for the rest of his life.
Snoop had someone close to Don Jazzy when he started out early in the ’90s. That person was Dr Dre who featured him in the 1992 Deep Cover released as soundtracks to the film of the same title. His stellar performance in that song and on Dre’s The Chronic album paved the way for Snoop’s Doggystyle which was described as the most anticipated rap album of that era. Disagreement between Dre and CEO of Deathrow Records, Suge Knight, saw the former leaving the group. Snoop stayed back but his second album, the Doggfather did not come anywhere new the first. His sojourn with other producers has not produced the same magic as Dre’s.
It is the same story in Nigeria with producer Laolu Akins and artistes like Shina Peters, Abass Akande Obesere, Mike Okri, Onyeka Onwenu, Christy Essien-Igbokwe, Adewale Ayuba, Funmi Aragbaye and Queen Salawa Abeni or ID Cabasa and 9ice. The artistes may find success with other people but they lose something they have with a certain producer who has a special connection with them.
Don Jazzy had that connection with D’banj. I do not see him losing it now. It is D’banj I am worried about. And the bit I heard of the song ‘Go down’ off his coming album during the week gives me cause for worry.
- Article originally published in Saturday Independent in May 2012
