Download Mayorkun New Album ##BEST##
Tangela Cackowski
Adewale Mayowa Emmanuel (born 23 March 1994), known professionally as Mayorkun, is a Nigerian singer, songwriter and pianist.[1] He released a cover of Davido's "The Money" single and was discovered by the singer on Twitter.[2] Mayorkun was signed to Davido's record label DMW from 2016 to 2021; his debut single "Eleko" was released under the label.[3] Mayorkun released his debut studio album The Mayor of Lagos in November 2018. After his exit from DMW in 2021; he released "Let Me Know" [4] and his second studio album Back In Office in October 2021, under Sony Music West Africa division.[5]
Mayorkun decided to leave his bank job to search for another due to bad pay, when his cover video was spotted by Davido in February 2016.[9] Davido followed him on Twitter and Instagram, after which Davido asked him if he can do more than play the keyboard. He got a call from Davido the same day he wrote his resignation letter[10] and sent Davido some of the songs he already recorded. Davido decided to sign him to Davido Music Worldwide.[11] Mayorkun released his first single under the label called "Eleko" in 2016. The song debuted on number 9 on the Nigeria Playdata charts, on 1 May 2016, and reached number 5, on 28 May 2016.[12] The video of the song gathered a million views in the first 10 days.[13][14] To his name, Mayorkun has several singles including Yawa, Sade, Che Che, and Mama. In October 2018, he released singles "Posh" and "Fantasy" featuring Olu Maintain[15] in anticipation of his first studio album titled "The Mayor of Lagos".[16] The Mayor of Lagos was released on the 16th of November, 2018.[17] On December 1, 2018, it appeared on the Billboard World Albums chart, peaking at number 15.[18]
In 2021, he announce his exit from DMW at the release party of his second album "Back In Office", in an interview with Ebuka Obi-Uchendu, they both (Davido, and Mayorkun) shared the news with fans at his album lunch party. The studio album "Back In Office", was released through Sony Music, West Africa division in Nigeria on 29 October, 2021.[5]
"Freedom" is the third track off Mayorkun's recently released album, Back In Office, the follow-up to his 2018 debut album, The Mayor of Lagos. The impressive debut project dropped via Davido Music Worldwide, the label of Afrobeats star Davido, while Back In Office was released under Sony Music Entertainment West Africa.
"Belovedness" is a single from Kroger's latest studio project, Light. She released her debut live album, The London Sessions, via Integrity Music earlier this year. She is also a member of the multi-cultural trio Village Lights and the female collective FAITHFUL.
"He was misunderstood," Lake said in a statement. "He had dreams that got him in trouble, and he had to go through the process of trusting his dreams and being faithful to God. Joseph went from a pit to a palace, and this album explores this theme heavily."
When people listen to his new album, Back In Office, they are quick to discuss a sonic evolution. As much as that is true, Mayorkun has never really been a one-trick pony. Although his biggest Afro-pop hits have had a signature formula in resonant hooks, resonant messaging and recently, wicked adlibs.
The Music Mayor of Lagos, Mayorkun, has officially revealed the release date for his new album on his socials.\n\nThis news is coming long after the release of one official single this year. The song is titled 'Let Them Know'.\n\nAccording to the new Instagram post, the singer said there is no better moment than now.\n\n View this post on Instagram A post shared by MAYORKUN (@iammayorkun)\n\n\nIn an interview session, Mayorkun had indicated that his second album would be released this year.\n\nThis latest announcement is a further hint that the album, which was 75 percent complete, is now 100 percent ready.\n\nHis music is among the best music videos of the month.\n\nMayorkun still hasn't revealed the title of his album, he has hinted at some of the guests that he will be having on it.\n\nThe single he released earlier this year was not from the stable of DMW. It also seems the upcoming album would be released under the new distribution channel.","image":"https:\/\/mmo.aiircdn.com\/370\/61530663c5795.jpg","datePublished":"2021-09-28T12:37:20+00:00","url":"https:\/\/www.coolfm.ng\/news\/editorial\/mayorkuns-second-album-arrives-in-october\/","publisher":"@type":"Organization","name":"Cool FM - Your Number One Hit Music Station !","headline":"Mayorkun's Second Album Arrives in October","author":"@type":"Person","name":"Jude Chukwuemeka"} Search Search Get Our Apps
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The album's overall mood was optimism in his miraculous trajectory. Wande Coal has journeyed from Mushin to Mo Hits. To better crystallize that journey in geographical terms, Mo Hits may as well be located at Mavin Towers in Victoria Island. Mushin to Victoria Island is a massive leap, a tangible change in status. Becoming a signee of such a prestigious label and the ensuing gratitude for his luck was a preoccupation in the recording booth, which was carried into the album's soul.
The arrival of Wande Coal\u2019s debut album Mushin to Mo Hits on streaming platforms is a cultural moment. It brings the album originally released in 2009 to a new audience yet to experience the early charm of the famous Black Diamond of Africa. This is not to say the charm has waned; far from it, Wande Coal is an Afrobeats legend, venerated by tastemakers and fellow musicians. Case in point: Mayorkun asks in his verse on Davido\u2019s \u2018The Best\u2019 \u201CSe you sing pass Wande Coal?\u201D
The word \u2018Classic\u2019 is often bandied around in the Afrobeats scene. This is understandable these days when everyone with a social media account is an expert on every topic. The history of Afrobeats in its twenty or so years of evolution is yet to be adequately documented. The problem is not necessarily that of remembrance; it is one of archiving, which is hardly the thrust of this piece. We have had to rely on the memory of key individuals that are hardly factual and often self-serving. What we call \u2018Classic\u2019 is mired in nostalgia and memory. Very little factual evidence remains from 13 years ago when this album was released. There is my poor attempt at a review of this album, if we choose to be ridiculous, but my argument is there is hardly any considered review of Mushin to Mo Hits that we can bring forward to appraise this term, classic, and if it applies to this album.
To be a classic, in pop culture parlance, means to have staying power, to stay relevant, to endure. If Wande Coal\u2019s Mushin to Mo Hits is hitting the streaming services now, is it still relevant in the first instance? Can we then agree that Wande Coal may be a legend and Mushin to Mo Hits is a crucial album in Afrobeats journey and leave it there? No, we cannot. Mushin to Mo Hits, in retrospect, stands at the beginning of that distinctive sound now called Afrobeats. There were a good many albums released before Mushin to Mo Hits, but they mostly have that formative sound of a proto genre. Listen to the Juju roots of Irewole Denge and Tunde King and compare them to the refined Juju of King Sunny Ade and Dele Abiodun if in doubt.
The zeitgeist of Afrobeats may have significantly shifted from album production today, but this was not the case in 2009 when Mo Hits Records released Wande Coal\u2019s debut. Mo Hits Records was a breakout indie record label established by London returnees D\u2019Banj and Don Jazzy.
Mo Hits Records released D\u2019Banj\u2019s first three albums, all well-received and consequential in establishing their claim to the music scene. If my memory serves me correctly, a young Wande Coal danced feverishly in the video of \u201CWhy Me,\u201D the lead single of D\u2019Banj\u2019s sophomore album, Rundown/Funk U Up. With D\u2019Banj\u2019s third and most crucial album, The Entertainer, something was changing in the sound. The music was far more experimental and, paradoxically, more cohesive. Incidentally, D\u2019Banj was not singing differently, so whatever was happening was going on outside the recording booth; the sonic architect was Don Jazzy.
For context, Mushin to Mo\u2019 Hits was released in 2009, and I was still an undergraduate at Obafemi Awolowo University, Ile-Ife, after matriculating in 2004. In 2004, Innocent \u201C2Face\u201D Idibia released his breakthrough album Face to Face, which emerged as the first Afrobeats classic album, and the distinctive feature of this record was its replay value. It is not a tough sell to find any other album before Wande Coal\u2019s debut that had that kind of incredible replay value where the album is experienced as a living thing, allowed to breathe from the first track to the last. 9ice\u2019s sophomore album, Gongo Aso, was also that kind of record, with Cabassa\u2019s sonic alchemy breathing all over it.
Now to the aspirational album title. Mushin is a working-class Lagos mainland suburb with an extraordinary place in Nigeria\u2019s musical history. King Sunny Ade, Chief Ebenezer Obey, Apola King and a cohort of older Nigerian musicians briefly resided in Mushin on their journey to stardom. Mushin is also the unofficial capital of Fuji music if its fan base in this locality is to be considered. Mo Hits, necessarily, is nirvana, paradise, stardom\u2014and Wande Coal, a newcomer, was signposting his status change.
Today Mo Hits no longer exists as a creative enterprise, but in 2009 when Wande Coal\u2019s album was released, Don Jazzy and D\u2019Banj were fast becoming music icons with a slew of well-received albums and coveted awards. With Curriculum Vitae, they had tendered an impressive resume of a collective of male musicians, which would have been a little too much testosterone in today's scene. But anyone who listened hard to CV knew there were two heroes: one inside the booth, Wande Coal howling hooks, and one outside the booth, handling the console and steering the production\u2014Don Jazzy.
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