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Image result for kizz daniel no bad songz tracklist



Kiss Daniel's (now Kizz Daniel) New Era debut, while an impressive first showing and may possibly be considered as classic material in years to come, was the minimalism that either makes or breaks an artiste. There was Kiss Daniel, boyish in his white suit, could have been shy on the day of the photoshoot. Compare that with the No Bad Songs album cover; the Gothic art like picture, both sides – good and bad, angel and demon – represented. A cover that aims to make a statement; pass a message.

There’s a swaggering confidence to Kizz Daniel’s artistry and one can point a finger on its development with the timeline of his G Worldwide tussles: the name haggling, the thirty thousand naira salary revelation and the eventual flouting of his own label (Flyboy Inc.).

So there it goes. In the ideal world which cares for suitability and names, this album would be New Era: his first major move not just as a CEO but an artiste signed under his label. Kizz Daniel however, seems to have other ideas and he promises no bad songs. 

Image result for kizz daniel no bad songz tracklist

NBS begins with gods, an obvious choice given the religious allusion on the cover. While experimental and enjoyable throughout the entirety of its three minute duration, Kizz Daniel settles for a strange choice afterwards. With the proper mood set, No Do would have made more sense placed in the function of a bonus. It is too good a song to be a filler and NBS should be too good an album to have those too early. Tere (ft. Diamond Platnumz) and the super hit One Ticket (which has about four million YouTube views in four weeks) however puts his idea in perspective.




Oyibe and Time No Dey are sweet servings; both rely on his vocal richness and penchant for surface level storytelling (albeit didactic). Maye could just about be song of the project. Kizz Daniel utilises the unku-stop-touching Yeba esque effect well. It’s an incredible thing to hear a song breathe and Maye doesn’t just breathe, it is intensely alive… Its drums, its horns, the Kizz Daniel effect, the DJ Coublon production. Bad is a decent song and Kizz Daniel’s serenading is furthered by the first rap verse by Wretch 32. They’ll be another on the next song and Nasty C adds an icy grit to the song even as Kizz Daniel’s “I’m just a boy with a reason to live like Pablo,” threatens to be the bar of the song.

Cheesy pop music happens with Somebody Dey, probably the first average song of NBS. Ayee just about falls through the average line to good; a Loyal reference and the hum like buttery feel of the song title being sung at the end. Production is strong, as usual. Happy works too; a little monotonous, though.

Ja is the devil in details. There’s an intense vibe to how this song plays. The heavy bass synths would threaten the hell out of your ear drums and Kizz Daniel settles for second place here, recognizing the finish-work quality of the beat. Poko is what Madu aspires to; fresh sounding and sure, another potential smash. Diplo of Major Lazer makes a production appearance on Ikwe, an heavy bass influenced song which sounds like it picked up a 90s dancehall sample. It sounds like a rehash of something you’ve heard before but you ponder over what it is, until the final second and you just want to listen again.

Nesesari (ft. Philkeyz) is that necessary head bump feet tap song; the one liner which never gets old. It is an enjoyable song once you get past the fact that there’s nothing left to say. Over and Tobi are on both sides of Kojo, which has arguably the second biggest feature of the album. Predictably, there’s the banku vibe and the Sark what-else? / you-know-what-time-it-is adlibs. “Shebi na body dey give you liver?” will have you laughing but not as hard as hearing Sarkodie say olosho.
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No Bad Songs actually has no bad songs.  Some songs do sound monotonous and uninspired (a 20 track album is a lot today and some expert trimming could have done the trick.) Kizz Daniel in his elements however, is a thrill to listen to. Songs like Maye, gods, Ja, Oyibe are potential classics not just in NBS, but his entire discography.

His confidence – no doubt a benerfiary of his artistic freedom – deserves its rounds. Unlike New Era which had all his then hits packed into the album, Kizz Daniel has grown into a surer artiste, confident his never-heard-before songs will bring him similar if not more commercial success.

No Bad Song sets out to do exactly what it promises: no bad songs. Viewed separately, they all are fragments of Kizz Daniel’s incredible artistry. As an album, they sometimes fail at cohesiveness but that is its only flaw.



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