FROM HIT GROUPS TO DISAPPOINTING SOLO CAREERS.

REMEDIES

They made great hits and were loved by all. They gained fame and fortune, and suddenly, when everyone thought they would stick for life, they split. What followed was unimaginable; an amazingly disappointing solo careers, for most. Interestingly, however, there are a few who are doing well for themselves.

This is the mixed fortunes of the Nigerian music industry where it appears that musical groups are increasingly becoming extinct. Have you ever given thought to what is happening to individual members of the Plantashun Boiz or the Remedies? How about Kush, Mandators, Xclusives, Zule Zoo, Tribesmen, JJC and the 419 Squad, Oriental Brothers, Junior and Pretty, Maintain and countless others? Indeed, the Nigerian music industry has witnessed awesome and shock changes, and still. In the last few years, for instance, the Nigerianized Rhythms and Blues and African Hip-Hop, have improved in terms of lyrical contents and packaging, including the videos.

PLANTASHUN BOIZ

Instructively, while many musical groups have made commendable impacts, the story of the Nigerian music industry would not be complete without the mention of The Plantashun Boiz and the Remedies, Nigeria’s foremost R and B groups. At a time very few people saw a future in African Hip-Hop and Nigerianized R and B, these groups waddled into the genres and against all odds, notched a few awards and till today, their hugely successful adventure has remained a reference point, as well as a source of encouragement, for upcoming musical groups.

Although separated and pursuing solo careers, not many members of the groups are replicating the success streaks that trailed them when they were working as a group. While a few are still on top of their games and doing well for themselves, many are simply a part of the struggling numbers. Formerly made up of the trio of Blackface, Tuface and Faze, Plantashun Boiz reigned supreme; not only did their single dominate the Nigerian airwaves for many years, they also proved of a truth that there were exceedingly untapped musical talents in Nigeria. Seemingly following in the footsteps of The Remedies – also a three-member group comprised of Tony Tetuila, Eedris Abdulkareem and Eddy Remedies, Plantashun Boiz left everyone spellbound through their scintillating and soulful vocal delivery. They seemed an apt icing on the cake of Hip-hop and R and B, The Remedies having discovered and built a strong fan base for Hip-hop and R and B, years before Plantashun Boiz arrived on the scene.

Similar in several respects, however, not much would be deciphered by just a cursory look. It really goes beyond the fact that the now moribund groups sang somewhat similar Nigerianized R and B, heavily laced with Ibo, Yoruba and Hausa dialects, to the understanding that most groups that sprang up during the era were encouraged by the acceptance The Remedies and Plantashun Boiz enjoyed while their union lasted.

It is common knowledge that The Remedies was the brainchild of Eddy Remedies, its defacto leader, until the split. While the union endured, Eddy’s voice gave direction and focus to nearly all the songs from the staple of this hugely successful group. Like Eddy, Blackface also a pioneer member of the Plantashun Boiz and leader, wielded great powers. While they rocked music airwaves together, Blackface, it was said, though arguably, wrote most of their songs and so shone like a million stars. Till today, opinion remains divided between Blackface and Eddy, who aped the other. The reason is simply because these two influential members of the groups have not clicked in their solo careers since members of the group went their separate ways over irreconcilable differences.

The truth remains that those who were considered second rate in the groups, talk of Eedris and Faze, and by extension, Tuface, are those dictating the pace of the Nigerian R and B and taking with it the awards, corporate endorsements, fame and financial fortunes. While the union endured, Eddy only paused for a few seconds for Eedris Abdulkareem to rap, while the baby of the group, Tony Tetuila, managed a few lines and sometimes, kept mute, just comfortable with his backup position from where he simply nodded his head and gesticulates. In fact, Tetuila was the perfect liability in the group, which silently had Eddy’s name looming large. In the Plantashun Boiz, too, Blackface and Tuface shared the vocal front row, while Faze made due with a less-fancied backup role. There were even some of their works that did not have Faze’s voice. The duo of Tuface and Blackface stole the show, while Faze lumbered around like a rhino in the background with a role similar to Tetuila’s.

TRYBESMEN

Surprisingly, today, the reverse seems to be the case. It would seem that the supposed liabilities of the groups are now the ones making waves and dictating the pace; grabbing the headlines and smiling to the banks. From the look of things today, neither Blackface nor Eddy is doing better as solo artistes. The case of Tetuila is even a little less pathetic. Many years after going solo, Blackface is yet to impress music lovers who had braved all odds to watch the Plantashun Boiz perform. The story is not different with Eddy. Apart from his first solo album: The Return of Eddy Remedy, this Delta State indigene whose marriage with the Chief Executive Officer of Kennis Music messily hit the rocks years back, has not acquitted himself with the vocal influences which many thought he wielded in the days of the The Remedies. While music lovers were excited at his return, the album curiously increased the list of failed comeback albums having fallen far below Tetuila’s My Car and Jigijigi. Then, he went into the cooler only to re-appear on the headlines on account of the crisis that trailed his marriage. With the union still in tatters, Eddy has since taken the back seat, musically speaking; just as many believe that his music career has become irrecoverably kaput.

Only recently, unconfirmed reports had it that he has travelled to the United States where he hopes to revive his career. This is probably the finest news from Eddy as Nigerians who were thrilled by his singing talent await his second or is it third comeback. For Tetuila, indeed, by market records, his first solo album showed signs of success becoming an anthem among the youths and adults alike. For months and running into years, Tetuila topped music charts in Nigeria, Ghana and other African countries and instantly earning the nickname: The Golden Boy of Nigerian music.

Agreed, Tetuila’s successive efforts did not make the same impact, but rising from whatever that dulled his shine, his duet with Ghana’s Tic Tac, which produced the track Fenfenenfe, earned him accolades and awards just like his E Go Better track. Whether right or wrong, music pundits still rate him better than Eddy and Blackface though he too, has gone into oblivion for years now. Just as comparing Blackface with Faze amounts to comparing sleep and death, Tetuila stands many metres taller than Eddy.

But the most shocking of all is Blackface. Blackface’s lacklustre performance as a solo artiste has till today, kept tongues perpetually wagging as to whether or not he did not hide under the cover of the phenomenal Tuface, who has since grown beyond Nigeria to becoming Africa’s export to the world music stage with countless successful albums to his credit. It could even possibly be excusable to say that Blackface was simply stealing the shine off Faze, who like Tuface, has continued to dazzle everyone with great videos as with bank breaking albums.

The major shock to music lovers in his solo efforts, till date, came with the release of his single Hard Life, an album still seen by many as largely mediocre. Little surprise, it didn’t make waves. Graciously, too, music lovers still believed he could re-invent himself and come out with something better. All the high expectations were to crash like pack of cards when eventually at the release of his full 15-track album, Me, Music And I, he left everyone guessing as to what has happened to the man who was a cult figure in the group. If people were shocked at his below average album, they were probably alarmed that he veered off from R and B, which the Plantashun Boiz became popular with by making a somewhat maddening adventure into reggae and raga.

Unfortunately as with R and B, he was lacking in the talent, especially the vocal power to excel in this area where Gino and the likes of General Pype and Rhymzo have lifetime patency right.

However, with Faze’s phenomenal success, perhaps, most Nigerians privy to his slow, but steady rise to musical stardom, would be wondering over what really transpired in the Plantashun Boiz where he had mere passing contributions to their songs. Like Tuface, whose talent was never in doubt and so predictably churned out an 11-track album shortly after the breakup and immediately set the stage for the music confraternity to wait anxiously for Faze and Blackface, Faze, in no time, responded by dropping his fairytale and highly successful single, Faze Alone.

This single stirred music hearts especially as his high-pitch vocal delivery signaled that he was not in any way ready to give up on his inherent talents. Describing his style as universal flavor – a blend of African Hip-Hop, R and B and Reggae – his albums, Independent and Originality sold like sachet water. With party organizers adopting the track as an anthem, this Delta State born twin and fourth in a family of nine, rubbed in his rising profile with numerous nominations at home and abroad. Indeed, Faze, who had won the DBN Karaoke Finals in 1997, was a surprise to many. And just about when the accolades were reaching the heavens, he unleashed the complete 17 tracks, which was well received in music circles.

As it would seem, Blackface at the time was left in the cold. Many years after their split, it seems clear who did what and who didn’t do what in the Plantashun Boiz years. Today, among Faze, Blackface and Tuface, and Eddy, Tetuila and Eedris, the boys have been perfectly separated from the men. The case of Eedris Abdulkareem leaves mixed feelings. Eedris, as he is popularly known, the self-proclaimed King of Rap, to all intent, craved to prove himself even when it was clear that the fire was speedily going off. To a great extent, too, he almost achieved this with his Nigeria Jaga Jaga single.

The single, which was followed by a befitting video, raised the stakes for revolutionary rap music. Just before the praises went down, again, this Osun State indigene, whose full name is Eedris Tunrayo Abdulkareem Ajenifuja, came out with Mr. Lecturer, which was released in May 14, 2006. The album impressed music fans so much that he became a bride for most corporate organizations. Seemingly sustaining the renewed acceptance, in 2010, he hit the stores with Unfinished Business. Whether or not this album made marketing impact is anyone’s guess, but clearly, Eedris enjoyed media reviews. Perhaps, it was these positive reviews that got into his head and suddenly, he arrogantly had an altercation with American rap star and boss of G-Unit, 50 Cent. While many saw Eedris reaction to the famous star that had come for the popular Star Mega Jam in 2004 as a publicity stunt, which it really turned out to be as Eedris reportedly begged 50 Cent. It was probably a huge gamble; a mistake Eedris would readily admit with regrets.

For shortly after, his career nose-dived terribly. Like a conspiracy of radio and television stations, the airplay, which he enjoyed suddenly stopped. His career having hung precariously on the edge of the precipice, he was never seen at public functions. Then, like his co-travellers struggling to revive their solo careers, he made a surprise comeback with a single The King is back. Before this album, he had equally released Letter to Mr. President, which was also neither here nor there. Still not giving up, he recently released another album on Kennis Music: Calabar Girl. In the album, he featured Vicky and starred Keke Ogungbe. This was his last rescue drive and the last signature of his existence as a solo artiste. Whether this musical voyage has achieved the purpose for which Eedris embarked upon it remains to be seen. In fact, only Eedris can tell. But the bitter truth is that for Blackface, Eddy and Tetuila, obviously, the better of the two, theirs is a quintessential example of the first becoming the last and the last, the first.

NNAMDI ONYEUMA