View Full Version : Samini's "CEO" Growing Up and Sounding Like It

The Informer
1st March 2011, 11:02 PM
In his fourth LP, Samini exhibits the maturity that may have been lacking in “Dagaati.” Unlike his previous project, C.E.O sheds most of the reggae in favour of soothing highlife, semblances of hiplife, hiphop fusion, club and dancehall joints..

Samini has been known for churning out anthemic dancehall/ slow jam joints to lead each album, but C.E.O doesn’t have that and listeners may not miss it.

What you have instead is a list of joints as the only reggae joint on the album, “Ghana Petrol” , “je t’aime,” “still burning” and “mr chocolate “; all of which are good enough cuts to keep a listener sufficiently entertained on any day.

The dancehall joints, “Still burning,” [an unlikely duet with Sonni Balli], “Popping [on which he calls on Paedae for help],” are just that; songs that make you want to bump and grind any day.

On the title joint, “CEO,” Samini hits out at his haters and whoever he feels is not doing it right on the scene. Here the “CEO” presents himself as “the bossman who knows how to do it better than all the others” [I stand to be corrected].

Flowing on a hip-hop laden instrumental produced by Asaasease; he seems absorbed in himself and hits out at his haters as well as anyone who cares enough to be bothered with lines as; I’m like the big tree with all the fruits hanging on it // I am like the sky // everywhere you go I am high on it // I am like petrol you need me everywhere you go. He goes on to refer to some people as “vocoder singers” and then; these days all of them sound the same// computerized singers in the game//I don’t want to point fingers on the names// but they know themselves//oh oh shame//tell them I be CEO // dat be why I no dey play CD shows.

Merewu is different, inviting, and infectious. Samini gives fans a throwback to the days of the trinity when he made his name doing ‘hiplific’ tunes with Korkoveli and KK Fosu. Perhaps the most refreshing collaboration on the album, Pat Thomas laid it down like the good old days and gives the listener goosebumps belting out his groovy lines.

“Dadiekye” has a bumpy rhythm with an anthemic chorus, and features Samini singing in patois, whiles he raps in Twi, patois. Female listeners might fall for the edge his baritone voice puts on when he cruises into romantic ballads of sorts “Mr. Chocolate” [produced by JMJ], “Je t’aime” and “That Girl”

The project has a bunch of surefire hits; “Tempo”/ “CID baby” “sweet mistake [remix]” and “poppin ft Paedae.” I however predict the breakout hit single from the album is definitely sounding like “Tempo”; in typical Samini style, the asoko rhythm picks up as the joint progresses and when we are introduced to Mugees on the hook; a hit is made.

CID Baby as well has international appeal with Tuface’s influence plus it’s the most well written song on the album. The subject matter? For someone who tries to stay away from questions concerning his private life;

Samini has an interesting choice of subject matters for his music. CID Baby’s intriguing storyline tells the story of Samini finding out that his secret lover is his girlfriend’s best friend. Does another Samini cut come to mind? CID Baby could well be the sequel to Sweet mistake[though I have a feeling it was hardly intended].

It’d be unacceptable for the album not to include Samini’s most popular single, “Sweet mistake,” but after having been on rotation for such a considerably long time, he was smart to do another version with Naija hiphop heavy weight MI Abaga lending a few of his formulaic metaphors; “hey mama Americana // I’m feeling your style, your persona// where u cum from gal? Oh Ghana?! // Samini Batman is ma brother // they call me MI Abaga.

On “Trigga” however, Samini returns with the same old version of the “Asaasease riddim” which had even been on radio before “Sweet mistake.”As a result it sounds almost bland as track 17[quite an anti-climax!]. After tickling ear buds with some of his best music yet, it comes as a bit of a low blow.

Guest appearances on this album are few, featuring Mugees, Pat Thomas, and Tuface. Once again SK Blings brought his francophone edge to bear on “Je T’aime” and made the difference. And then the lows; a run of the mill cameo appearance by Obrafour on the JMJ produced “Free,” whiles Samini could really have done without Kwaw’s unimaginative presence on both “C.E.O” and “Yensa.”

“C.E.O” is a party from the start that seems to get a little stale in midsection only to regain the bounce in time to make this album a must listen. 18 tracks of infectious ditties with pop and urban contemporary appeal and successful fusions of dancehall and funk with local rhythms; it's an almost unlikely combination of different styles, but one that certainly works.

Source: The Buzz