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    Home » Why Asake’s album is the biggest debut album in afrobeat history
    Editorial

    Why Asake’s album is the biggest debut album in afrobeat history

    AmosflashBy AmosflashSeptember 11, 2022No Comments2 Mins Read
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    Without a doubt, Asake’s album is the biggest debut album in afrobeat history going with charts

    He gained notoriety in 2020 when his freestyle performance of “Lady” went viral and received a favourable response from a number of well-known internet influencers, including Broda Shaggi, Sydney Talker, NastyBlaq, and others.

    Asake’s CD occasionally gives the impression of being composed entirely of songs he recorded in the past. He seemed to have been prepared for this campaign for at least a year; all he needed was the right chance, the right platform, and the right support. Runs like these are not an aberration, especially when the musician performs on any type of beat predominantly in Yoruba while seamlessly switching to English and Pidgin.

    Why Asake's album is the biggest debut album in afrobeat history
    Why Asake’s album is the biggest debut album in afrobeat history

    The highly anticipated debut studio album by Nigerian recording and performance artist Mr. Money With The Vibe, with the catchy title “Mr. Money With The Vibe,” has just hit the radio.

    The highly regarded Nigerian Afrobeats musician Burna Boy is joined by American rapper Russ on the 12-track studio album, which was produced, mixed, and mastered by renowned Nigerian producer Magicsticks.

    Ten tracks from the album are presented in the top 10 spots on Apple Music’s Nigeria Top 100 Chart, demonstrating how much the singer’s endeavour has been appreciated by fans and music lovers less than 24 hours after its release.

    Benin, Gambia, Ghana, Liberia, and Sierra Leone are just a handful of the nations where the album “Mr. Money With The Vibe” has made its debut.

    Asake’s music has a lot of personalities, which ties a lot of everything together. Sometimes, the personality is his own, while the others are meticulously built to fit the needs of a particular song or even just a split second or a 10-second chunk of a song.

    For instance, he portrays a Yahoo boy with a type in the opening seconds of “Palazzo” and another guy who relates a tale about a picky woman. In a similar spirit, the post-chorus of “Organize” represents a person mockingly addressing a gregarious, overeager, and annoying person.

     

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