📍📍📍 was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

The Alphabet Song was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

Play This… was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

In hip hop, judgment put on debut offerings is extra harsh. A classic offering out the gate is an unspoken expectation. The sophomore is looked at as you should have refined from the standard you set with your first professional offering; the debut was first timer’s luck. The third offering gets the title of O.G as these are scarce. A lot of artists are having these over a space of more than 3 years. A small number of artists are hardly noticed when they do a 3 Peat of classics, let alone a discography that spans past the second offering.

This by no means suggesting that hip-hop artists, especially in South Africa, are not actively rapping. Quite the contrary. Complete albums may be sparse, but you will hear of them. The verses are littered everywhere & with this, they qualify to become contenders for the annual MC of the year. A double-edged sword for the game. In retrospect, the game has shifted and evolved beyond the famous Jay Z mantra of owning summers with debate-worthy albums.

To create a cohesive body of work is a labor of love, passion & damn near pedantic attention to detail. It’s an exhibit of skill and word mastery. To paint a singular picture with different strokes of brilliance is incredible. Now imagine doing it on full-length projects back to back to back!

These 9 albums are classics in their own right & are etched forever in hip hop history. It’s also incredible how, as linear as they are, they each represent a different time frame, mindset & exquisite growth of the artists therein. To not respect the artistry in the collection of these three 3 Peat would be a travesty. To not acknowledge that these albums are formidable works; is a gross undermining of the value & pride these artists put into their lyricism.

The Dreams Series

In 2021, Solo’s career nows spans over the past decade. The first audible came in the form of a mixtape back in 2010 titled “No Shades of Grey” which served as a prelude to the Dreams series, namely, Dreams.A.Plenty (2014), Dreams.B.Plenty (2016) & C.Plenty.Dreams (2019).

Each of these albums timestamps an era in Solo’s life. In between these albums, Solo has also amassed his discography with projects with the band BETR Gang. “We Need A Title” with Buks as BETR Gang, The Tour Dates trilogy (as Solo and The BETR Gang) & also appearing on many features and collaborations.

In “Stardust” the question, “Are you comfortable with your choice yet? Have you even found your voice yet?” indicates the preliminary thoughts to pursuing a career in hip hop.

The Dreams series follow an astute MC with an affinity to be different, relateable & determined to share their life story. Vulnerability meets curiosity. Studying the game breeds introspection. The growth in the industry fuels confidence and learned self-awareness. Throughout the journey in the Dreams series, you vividly hear & feel Solo Ntsizwa Ka Mthimkhulu grow & become more aware of self & navigation of this hip hop culture. Each album serves as a pinpoint position of Solo’s career & imminent career trajectory. There are noticeable growth points in the series. Dineo Moeketsi, who was the love interest in the first single “The Frolic” on the debut “Dreams A Plenty” is now Dineo Langa in “Higher Power” on “C.Plenty.Dreams”.

In “Stardust” the question, “Are you comfortable with your choice yet? Have you even found your voice yet?” indicates the preliminary thoughts to pursuing a career in hip hop. “Not Vogue” on the sophomore boasts confidently & celebratory, “If that shit works, we so fucken out of here!”.

In between the Dreams series, Solo’s writing becomes more vivid. You inadvertently follow the story of a dreamer & root for them to see if they achieve their dreams.

The debut, Dreams.A.Plenty, details the dream, sketching plans and recognizing pitfalls and obstacles. The sophomore, Dreams.B.Plenty, was the segway to an unchartered yet imagined territory. The middle ground between novice and presumed master. The third chapter of the trilogy, C.Plenty.Dreams, is the culmination of the dreams of Solo Ntsizwa Ka Mthimkhulu: the man, the traditional healer, and impeccable rapper.

The consistency exhibited in the Dreams series ( and the in-between albums that morphed into their own formidable concepts) is undeniably unparalleled. The Dreams series is a collector’s item.

Second 3 Peat to be updated soon…

3 Peat was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

Light drizzle. Shoes soaked in water from the rain. Cold as a witch’s left nipple. Night dark as a deranged wolf. Every step infuriatingly loud and soggy yet, in seamless rhythm with your pounding heart beat. The steam from your nostrils the only indication of life. Everything is eerie. Head down battling internal conflict of either pacing up or walking normally.

Silence.Complete peace. Serenity.

THEN jerked violently to life by the sound of a shovel digging a wet, muddy grave. You count the digs unintentionally. You follow the rhythm. It now no longer scares you, it’s normal. Your steps now aggressive, stomps really. You gain confidence with every step. You slowly pick up your head. Your chest rises up.

Deep breathe.

You adjust your balaclava. You look back, you are the cause of all those graves. You the killer. You conscious of your capabilities. You focused on perfecting your craft.

This is what King Shampz “Send ’Em To God” evokes. Laced over a loop sample by Azzan (his younger brother), Shampz details a focused decimation of opposition. The kill talk is exquisitely executed & serves as more than a warning shot to anyone who doubts the Dead Wrong Records rapper. So gully, you check your pulse when the record finishes.

The East Coast influenced rapper brings a gully record that will have you mean muggin the whole 2 minutes 25 seconds.

With a style reminiscent of Raekwon —which he calls New Age Gangsta Rap — the Philly born rapper gets into the 90s era rap pocket but manages to not be stuck in that era but instead uses it as foundation for concept driven songs, tough raps, structured carefully and maintain a consistency that doesn’t lose the listener but keeps them engaged.

“Send ’Em To God” serves as a teaser to the upcoming project from Dead Wrong Records, scarily titled, “Dawn of The Dead”.

First Listen: “Send ’Em to God” was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

Hip hop is a wide and multifaceted culture. From the early days, it listed 5 pillars as it’s core but nowadays, it spans across cultures and its influence is undeniable as it is tangible.

Every now and then, hip hop will rope in someone who is not entirely a rapper, breakdancer, graffiti artist or even a DJ into it and as heads and supporters, we applaud their contributions.

This is Rap La Familia. Our dearest cousins that not only help hip hop make immense strides in the world of music and beyond but make us refine our culture.

I present to you… Ziyon.

Born in Nashville, Tenessee; Ziyon came into prominence in the South African music scene via the group Liquideep but his taste of music came a long way back.

“My parents are very musical beings. I have the cliche music background. The music that influences me is music I heard my folks play to me when I was young and then, I used to “make music” by banging pots and pans.”

“In that time, I was introduced to music in a more behind the scenes way and the business of it. From going to my first Grammy’s as a child and being in studio, it showed me a bigger picture of music as a whole. It exposed me to the different dynamics than just being on the mic. I can say that even at that young age, I was always destined to be a musician”

When I ask when did he decide to take up music as more than a hobby he reminisces and states,

“It really goes way back. I was an intern at a record label, where Shirley Caesar was the artist so I learnt a lot then.”

“In relation to South Africa, I recorded my first demo in Joe Nina’s studio. And even then, I was paying attention to the music creation and the process of it all. The melodies, the writing, I was soaking it in”

“Thinking back, I was part of the team working with artists back then before myself and Razr started Liquideep. I’d say, for me, the first big artist I worked with was Swazi Dlamini.”

With Liquideep’s critically acclaimed and loved eternally debut, “Fabrics of The Heart” turning 10 years this year, Ziyon remembers the beginnings.

“ ‘Fabrics of The Heart’ will forever be special to me because it’s a true testament of patience, hard work and positive energy. We used to be a DJ crew, myself and Razr, we would do gigs and get paid measly. Which is why now when people refer to me as Liquideep or the face of it, it’s bittersweet. I produced a large part of the music in the album. This is from years of experience of reverse engineering I did. For shows like “Hardlines” (a South African series) and the beauty pageant Miss South Africa. Being involved in Clash of The Choirs also exposed me to different crowds.”

“See, I’m an observant person. When people talk about Liquideep or my solo work, I take note of how they speak about it. From wishing for a Liquideep reunion to how they spell my name, it’s a learning curve for me on knowing who really messes with my music”

“And this is important for me, as I said, it’s also bittersweet. Knowing me now or calling me Liquideep is now something I atone with. I wouldn’t have had that moment in time if it wasn’t for Liquideep.”

I can say that even at that young age, I was always destined to be a musician”

We delve deep into the connection Ziyon has with hip hop.

“The biggest part for me was and always has been, writing. It’s a very important part for me. How I write is not solely a process but a feeling. I always want to write about my feelings. As genuine and authentic as I can possibly be. Music is a feeling and I believe it shouldn’t be constrained to genres. It’s what feels good, what feels sad; its feelings, man.

I have people telling me a certain song was how they got their partners to agree to be theirs and I always think, as humbling as it is, for me it was a frame of time where I spoke those feelings and felt them. It wasn’t a to be cool but genuine words I speak to express my feelings.”

Ziyon’s writing is immaculate and can be considered a forte a few have and likened to lyricist’s attention to detail and delivery of their written works

“I’d say my biggest hip hop influence was J Dilla (RIP) and Mos Def. ‘Fantastic Vol 2’ (an album by Slum Village which J Dilla produced)? Man, that album moved me. How the production was sublime and touched on my emotions. BlackStar? Mos and Talib? Beautiful album. The words, the production, that made me write more meaningfully and always remember that, words matter.”

On current releases, he cites the debut album, “Lost Boy” by YBN Cordae as his current favorite.

“ ‘Lost Boy’ is a special, beautiful album. Cordae’s writing is amazing as it is easy to gravitate to because not only does he write beautifully, he tells a story you get enchanted with and evokes emotions in you. Even his singing is clever and well constructed.”

We move to how his musical acumen has become part of SA hip hop and garnered him respect amongst some SA hip hop personnel.

“Word? (laughs) that’s humbling. I have worked with a few SA hip hop artists but it’s humbling to know they speak highly of me.”

We speak about some of the collabos he has had with SA hip hop artists,

“The Hansa Pilsner collabo “Born For This” with the late HHP and Teargas was a brief preview in how some of local hip hop acts approach music-making. It was a very short meet up but I got to see how K.O approaches a song. How Ma-E gets involved in the song.”

“So when I started recording “Audio Alchemy”, which as much as I love, it was a very selfish album. I wanted to show, more importantly to myself, that I can do music. I reached out to Ma-E and “All Night” was born. “

The aforementioned collab is one many wouldn’t expect. Ziyon expresses the respect he has for Ma-E is what prompted him to have Ma-E on the record.

“Ma-E is very talented. I’d say he is one of the most intelligent people when it comes to making music. Studying melodies and creating a vibe with them, Ma-E is special in that category.”

On “Audio Alchemy”, Ma-E is one of the hip hop artists featured alongside Stogie T and Khuli Chana. Ziyon and Stogie T have shared collabos before, namely “ Feels Good” and “In Defence of My Art”

“I ran into Stogie at one event and we started talking and just kept in touch. He was actually interested in my production. “Feel So Good” was a song I wrote and produced and Stogie liked it and we jammed. For “Cool” (the collab on “Audio Alchemy”), I reworked the song. Stogie is a very peculiar intelligent man. Very pedantic about detail. What you see now from him, is a plan that was formulated years ago. “

“This is also a trait I picked up from Solo when we were working on “How Cool Is This Love”. Attention to detail, critical thinkers, take music as a puzzle and properly plan every last detail”

Currently Ziyon is lending his expertise to a performance academy in Midrand and delivering features on multiple artists work such as Kid Fonque and singing sensation Ayanda Jiya.

With quick fire, on the feet thinking, Ziyon shares some very interesting answers to questions I posed.

Dream feature?

Zooki CokedDope is a wish feature.

Favorite singer?

Samthing Soweto is a favorite. Sio is another favorite singer.

Interesting challenge thus far?

I rapped on (Kid Fonque’s) “Light Work”

Fantasy rap album title

Fury / Backpacks Rage and Roses.

Last words?

I want my sound to be like an organism and sound like its breathing.

Ziyon — Rap La Familia was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

Fame is one thing, legacy is another. There have been people who came into the game, got fame and now their names being called out feels like a memory game where one proves how they are. Remember Tamagotchi? What about Winamp? Oh, do you remember (insert one-hit-wonder faded into oblivion rapper)?

I sat down with a woman whose name echoes in hip hop & if ever there’s a SA hip hop museum, her statue should come with a crown.

Ms. Supa is a name that, for few may not ring bells but she kicked down doors for a lot of women MCs in the game now. At her prominence, citing that she’s back and ready to do more damage in the game, Ms. Supa was a no hold barred rapper that many respected.

Real name Ayanda Malele, she was the first woman on the local hip hop manuscript Hype Magazine in 2005 and only in 2007 she dropped, what she calls an EP, the debut “The Complete Puzzle”.

‎The Complete Puzzle by MsSupa

“We called it an EP at the time because of the SAMA rule and being eligible for Best Newcomer. I didn’t have the resources I needed so I could not call that an album but I was creating my magic with what I had.”

We talk more on her sophomore, “HERstory in the Making”

“A lot of people think I’m from Pretoria, coz of the sound I had but it was coz of the surroundings I was around back then. My album, or EP (called it that when I was put into a corner to release), featured Blaklez, P Dot O… Like PTA Legends. I even had Nyambz producing. So I was known as Cap City. “

We discuss how innocent incorrect affiliation affected her musical direction.

“It was a learning process. I mean, you around talents like Blaklez, P Dot, Nveigh, Damola… This is at the time SA hip hop has factions from Vaal Sound with your Optical Illusions, your Joburg was more glitzy and PTA was a bar fest. Those people repped their city but more so, RAPPED! Then, it was to prove that you can rap. Prove your skills. Otherwise, you were a target of shade in blogs like AfricasGateway”

“The story of making ‘HERstory in the Making’ was a turbulent time for me. As a rapper and as a woman. I have videos of me in the studio with Nyambz heavily pregnant, eating honey and struggling to breathe through my bars. When I had my first child, then second born 18 months apart, I literally just said ‘this cant gather dust’. I dropped it on SoundCloud”

‎HerStory in the Making by MsSupa

We rewind time a bit and find ourselves in her father’s green car where she heard a Hip Hop song by a female.

“(laughs) ever since I was young, I loved being an entertainer. Remember the two-finger record on tape and pray the DJ doesn’t speak trick? Yeah, I used to do that. Would tape Brenda Fassie songs and then perform for my mom. I was 13 and was in my father’s car.”

She smiles distantly as she remembers the vivid detail of when she first fell in love with hip hop. More especially, a woman in hip hop.

“This is my favorite story to tell. Green BMW, waiting for my dad at the Doctor, Ukhozi Coca Cola Top20. And j just heard, ‘Oooh, baby..Can I take you home with me tonight? Oh-oh!’ And I’ve heard hip hop songs but never by a woman. So the chart show played on weekends and songs would shift around but you knew the song gon play and there I started writing my first rap”

She raps her first verse to me and ends with,

“It was horrible but what I remember about it, it had a story and a message.”

I ask her of how her sound changed through the debut and sophomore and what’s the direction going forward.

“I was probably what you call a hardcore rapper. I rapped hard. That’s because of the talent around me. Places like State Theater was not play play, you had to rap hard to get on that stage. I’d also say life changed me. Having children, having this talent…I had to find a balance. I had to think outside of myself, and this was difficult, that “barfests” are good and dandy but I’m not holistically that person. I feel good, I feel sad, I feel angry and with music, I can portray those feelings and thoughts, not just outrap everybody.”

We touch on how life has changed for her since the 2005 Hype Magazine cover, two albums, two children and now, back with the single, “Vibe”.

“It’s been a journey. It’s been lessons on the way. It’s been a lot of, ‘I hate hip hop, I quit’ & ‘I can rap and there’s a lot I hear which isn’t rap, let me get back’ . I’m a firm believer in God’s timing. I believe in it wholeheartedly. I believe I’m in a better position where I can take care of my priorities and be able to do music. That’s the plan. Do music that celebrates me.”

On the Castle Lite gig, she structures her words in a way that accentuate her respect and the feelings that accompanied the gig.

“The HERStory gig by Castle Lite was a great initiative. I actually got wind of it via Facebook coz I dislike social media. I feel there’s a lot of negativity on it and it’s people who thrive of it but when I got told of the Castle Lite gig, it was heartwarming. People were saying my name is to be put with women I respect in hip hop. Your Loot Love, Lee Kasumba, Roxanne Chante; prominent women in Hip Hop. It was a great opportunity to show everyone that hip hop is not a man only sport”

When I ask her about her OG status she immediately chips in,

“I hated that tag for a while. It made me feel old. (Laughs) I mean the men regarded as OG are people I look up to. Your Amu, DJ Bionic, Nyambz. People I respect. It felt like I still have more to offer than just carry that status. On the flip side, I started carrying it with pride and knowing that I have a responsibility to teach the new kids on the block. That way our history doesn’t fade away. One time, I was talking to some young creatures and coz of the Castle Lite gig they know of my accomplishments. When I mention, Godessa, Qba, Maki (Miss Nthabi) I saw blank faces. I then saw an opportunity to teach them about our history. “

We both agree hip hop is sexist, much as society. I ask her how being a woman becomes infinitely difficult for a woman than a man.

“It’s really tough. I can understand that the game celebrates women on the mic because there are a few of us. A lot of women are rapping because there is a man that is respected thus when he cosigns you as a woman, people are inclined to listen. Look at famous woman rappers, most get ins via men. Lauren Hill, Fugees. Left Eye, TLC produced by Babyface. Now a woman that comes off on her own skill and talent, it becomes even more difficult. And this doesn’t discount their worthiness.”

She carries on delving deeper into the subject.

“As a woman, there are other factors that affect your career. As I said, I fell pregnant during my second release and that was months I couldn’t do music. Which also filters into how the game has a single view of come up and evolution. You don’t see a story of a woman rapper coming on to the game, rapping harder than most and then fall pregnant, get married, raise kids and still rap. There’s always a gap. Because the game loves bad bads, ordinary women don’t sell. Lauryn for example. She went on what could be called a hiatus but no one admits the adulting women do.”

We focus our attention on the current state of the game, pointers of improving it and Ms. Supa’s view of it all.

“I listen to all women raps. All of them. I love hearing a woman rap. I do have some apprehension but we all do. Not all raps are for everyone but if I have to pick one woman rapper, it has to be Clara T. I enjoy her raps, her song structure, her flow. She is an exciting rapper”

When I asked what she would change in the game in favor of women, she said,

“I wish women in hip hop would stick together more. Admittedly people are not going to like each other but we, as women, have to stick together. We have a similar goal. Hip hop is sexist. People expect women to be a certain way and rap a different way. As women, we can change that perspective by sticking together and more so, don’t allow the powers that be to have us fighting. There really isn’t only space for one woman rapper.”

We chat more about hip hop and a cappuccino and dirty chai latte later, we test our knowledge of women in hip hop.

Off the top, we counted 16 women rappers prominent currently. We played around with four rappers Ms. Supa can feature and wishes to feature. You’ll have to wait for the album.

We wrap it up with thoughts about a full-length project.

‎Vibe - Single by MsSupa

“I actually had a single I wanted to drop before “ Vibe” but as I said, God’s timing. I had it reworked. I wanted it to feel a specific way. And as an independent artist, it’s difficult because you doing everything yourself. You have to plan carefully and be sure of your moves. I’m also feeling blessed being represented by African Star, always respected Farah. Now I feel accountable, I’m more professional, I don’t throw my tantrums every two weeks about quitting hip hop.”

Final note from Ms. Supa.

“I want my album to be all me. Not just barfest. Not just fun joints like “Mshove” but for it to be holistic Ms Supa. My aim for the album is for it to encapsulate… GOAT.”
 — 
MsSupa

Ms. Supa: The Rebirth of a SUPASTAR was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

I’m conflicted. I feel kak as I write this. I feel late. As much as I have always said: “Dankie San” is PRO’s magnum opus, I feel swak that after his passing, I can now confidently say that it is the perfect representation of a conflicted, self-discovering and forever evolving culture that boomed 5 years before the release of the album. It’s a personal confliction of celebrating the roses while you can still smell them.

PRO’s “Dankie San” is eternal. The truest representation of SA hip hop in its perfect stature.

The first time PRO peaked my ears was when one day while listening to Harambe on YFM (a legendary hip hop show hosted by Bad Boy T, Lee Kasumba, Sanza, and Naked DJ). Each of the hosts played a song they loved and people would call in and vote. On the day, Lee brought PRO to the studio. Hearing “Soweto” live with no beat made you carefully listen to PRO’s cadence, flow, breathtaking rhyme schemes. When you heard it with the bells and whistles, literally whistles, you immediately fall in love with the pint-sized Soweto MC.

The debut, “Heads and Tales” soon followed and every ear that it touched, was moved by the polarising talent that is PRO. The album was packed with stellar production from some of hip hop royalty, the concepts covered a varied array of topics and the Number 1 Soweto boy not only had a critically acclaimed classic but also unanimous respect from his peers and industry leaders.

The stories that spawned from the album from peers, showed the reverence PRO attained in the game. From Kabomo talking about PRO performing “Soweto” in the East Rand when repping your hood was nearly deadly, to how other rappers speak of how much confidence he exuded in his skills; PRO backed down from no challenge.

The sophomore, “DNA”, that alluded the dropping of the “kid” in his moniker, showed growth and introduced us to more talents in Sgebi, Omen & Maggz (who’d form a group called Saudi Western, dubbed from their township Soweto). Unfortunately, this beautiful album fell to the sophomore to a classic curse and space in between the albums was also very short. Some may allude Gallo, PRO’s then label, was too quick to capitalize on the immense success if the debut.

“Haai, oh well I guess every album needs an intro”

2007 saw PRO move from a major label to a kwaito boutique label, TS Records. The pride in your hood emanated from the stable and in this regard, PRO was a perfect fit but an even bigger ill fit as he was the only hip hop act on the label. At this juncture, PRO created an album that is so proudly South African, the artwork can be used as the national flag.

“Heads and Tales came through, got a warm reception. DNA came through… Ah I’m not too sure. Now Dankie San is here”

‎Dankie San by Pro Kid

The honesty of how he felt about his discography signaled PRO had grown the hunger to be great again. Sure, no one doubted PRO’s skill but for him, he strived for a perfect discography. Every song gotta impact. Every line got resonate. Every flow gotta hypnotize. This is exhibited in the second song, produced by Dome, “Mrappa Wenzani”.

This track served an answer to everyone who doubted the TS signing. It’s clear PRO has heard people show their skepticism and answered it in the structure of old nursery play game from Soweto that promoted pride and confidence. “Mina nga flow(a) uhlanye, ANEVER!”

The first single, “Bhampa”, produced by new kids on the block at the time, IV League, was a runaway thumper. The production had elements of everything Soweto. The raspy beat with a tough bassline you’d hear in a passing SJZ taxi, the kwaito feel to it, then close your eyes and see topless Gusheshes spinning… PRO was home on this beat.

Throughout the album, PRO exhibits exceptional characteristics of a grootman in the corner watching and observing and sharing his wisdom about one of the most famous townships in South Africa.

PRO takes you on a journey of fun places around South Africa on “Bazogcwala”, tackles the issue that was and still prevalent today in South African hip hop, the emulation of USA slang and sound.

The sample of Mapaputsi, a kwaito artist famous for his raspy voice and being direct almost intimidating to whoever he stepped to, on “Ringa Mo” emphasizes the point of people who talk a lot of negative. Kasi love and courting are displayed and vividly rapped in “What We Doing 2Nyt” and PRO shows that he and concepts are uphuthu and inkomazi on songs like “Isaka Lam” where he portrays a story of collecting debts the hood way. The imagery of the track is pure action movie cinematography. “The General” where he assumes position commander in charge and shows his lyrical superiority and then there’s “Iskhathi Se Watch” where the beat is a ticking clock. The song that became a darling for many was another kiddies nursery rhyme structured one in “Uthini Ngo Pro”. A look in the eye question to everybody talking bad about him to say it to his face.

“Uyang thola rater noma uzing’thola later?”

“Dankie San” was not only a masterpiece sonically but it was an essential album amid a culture scrambling to find it’s identity. PRO was self-aware and was certain about who he is and his rap skillset. PRO is one of the best hybrid rappers we have seen in this country and with “Dankie San”, he made an album that did more than be cohesive in its nature because of the complimenting production, the slang used that is uniquely South African but also the entire album is dearly and truly Linda Mkhize and PRO. A South African legend.

Dankie PRO.

Dankie San: PRO’s Magnum Opus is the Perfect Proudly SA Album was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

AKA has laid down some mean verses.

It’s a great sight when you see a rapper morph into a superstar and even more delightful when they cross over to be darlings in other cultures and genres. Whether it’s a calculated move, a seize an opportunity to infiltrate other markets for more zero in the cheques or quite possibly a natural evolution of their artistry; you can’t help but admire the tenacity (or hunger for money, capitalism vs character) shown by said artist.

Kiernan “AKA” Forbes was the bad boy of SA hip hop. Now a rap verse by him, by the standard of proper rapping and not autotuned vocals, is a rare but still appreciated sighting. With his latest offering, “Touch My Blood” featuring more sing-along catchy tunes than him bellowing out 16s, AKA is bound to be a recurring feature in a Jacaranda FM chart show than you’d hear him freestyling at an MTV Base cipher. AKA has morphed into a full-fledged pop star that still maintains he is a hip hop artist but way more than that.

I have zero qualms with the direction he took for his career. He has catapulted into a megastar with recognition beyond hip hop. Alas, before the neon-colored hair and disco balls as skirts pop frenzy claim him & lock him in among your Justin Bieber, Kiernan Forbes has dropped some 16s we can always cherish.

Let’s run through a few…

AKA — Return of The King Intro

Stogie T surprised the game when he dropped “Return of The King” on June 16, 2015, unexpectedly. The album was originally titled “Rob The Church”. Imagine the surprise when you pop this now a classic and the first voice you hear is AKA. HOLD IT NOW! The beat changes into “Levels” intro where Stogie leveled it with some potent words.

“Return of the king, ain’t it funny you thought your reign was a permanent thing”

DJ Vigilante feat K.O, AKA & Nasty C — Bang Out

The hype preceding this record was palpable. You have the Skhanda Gawd, Supa Mega & wonder kid Nasty C on one joint? This is bound to be a street anthem. For many, they saw this as “God’s Will 2.0”. The song is a decent record but AKA ensures that he doesn’t get outshone by the stars beside him is a thing of wonder. The hunger we witnessed in “Do It” was evidently still in him.

“Supa Mega got a lot of presence / told myself I’m a legend ever since adolescence”

Zeus feat Stogie T & AKA — Dats Wassup

This offcut from Zeus’ “African Time” was random and yet so majestic that talks of who had the best verse sparked debates everywhere. It was originally slated for the “Honey I’m Home” mixtape. Zeus sets it off and lays down a fiery gauntlet. Stogie stepped up and delivered a strong verse interpolating Zeus’ career and then it was up to AKA to wrap up this dope collabo. This stands as one of AKA’s most stellar feature verses.

“First time in my life I got nothing to prove / first time in my life I got something to lose”

**There’s an extended version of “Dats Wassup” with a beautiful back & forth raps by Stogie and Zeus**

Proverb feat AKA — Super Official

The Verb has had back to back classics in “The Book of Proverb” & “Manuscript”. When his third album, “Write of Passage” dropped in ’09, he was an established artist. In this one, Proverb ropes in the new kids on the block at the time. IV League was on the boards and this song gave AKA his first feature verse. The braggadocio, the tethering between self-belief and arrogance, the hunger reverberating from his voice; AKA ensured he stakes his claim HARD.

“You are now in the presence of greatness / so bow to the king of J-Sec”

Ice Prince feat AKA — N-Word Remix

Ice Prince was a tornado ripping through SA artists songs where he cleaned out every feature on offer. The Naija — Mzansi collabo train was buzzing at the time & Panshak roped Supa Mega on this Don Jazzy thumper. The delivery of this verse showed AKA was calculated and wanted every single line to sting.

“Fuck a hashtag, fuck a retweet / you can’t block me on these streets, I’m on a mean streak!”

AKA — Snakes & Ladders

The gem in the debut “Alter Ego”. The production is bouncy as AKA reminisces on fame, the rap game, his come up, the people around him and how all that ties together. It’s an introspective song with sprinkles of smiling at self that he not only survived the bad but also thrived past it.

“The fame changed nothing about you? The fame changed people around you”

Entity feat Nthabi, Reason & Maggz- Touch & Go Remix

Back when AKA was part of the trio Entity, they unleashed this monster and didn’t sic it on the industry. I heard this on Kamza’s “The Essence” show. I was screaming in excitement at 10 pm on a Sunday evening! The joint featured some of the overlooked talents in the game and was released after the debut album “Royal School of Hip Hop”. Miss Nthabi ran all over this and bossed her verse.

“Prediction of a powerful impact”

Kabelo feat AKA — Generation X2Y

Kabelo Mabalane is a legend in kwaito. On “Immortal Vol 1” he makes a very audacious attempt at a crossover album. Kwaito classics like, “Amapantsula Ajabulile”, soft rock in “We Build a Rocket” with The Parlotones, a pop song with Pearl Thusi in “Ice Cream Soda” and a gospel song in album closer “Jeso Fela”. He even rides a thumper of an IV League beat in “I Got People”. It’s in “Generation X2Y” where he makes a hip hop record with AKA. Bouga Luv is schooled on how to rap by Kiernan.

“I’m just waiting on a new breed /I guarantee you there’ll never be a new me”

Ill Skillz feat Reason, Mothipa, Hyphen, AKA — F.U.1.2

This line up is ridiculous! With ph Raw X on the boards, it was bound to be a bar fest showdown. Everyone brought their A-Game. Shit was ripped apart on this. AKA stepped up and sparred with great rhyme spitters and didn’t miss a beat. The using of the SA flag colors in his everyday life? Beautiful.

“So above it, style bigger than the government / too hot to handle, handle my CD with an oven knit”

Da L.E.S feat AKA — Patron Break

AKA & Da L.E.S have a long list of collabos that are loved and stay on high rotation. I believed a WTT type album would happen between them before “Be Careful What You Wish For” with Anatii. In this bonus track of the masterpiece “Mandela Money”, AKA is comfortable, sleek, potent, confident and so calm; he prolly recorded this verse wearing a gown and black Ray Bans to hide last night’s shenanigans.

“Me and my niggas get cash, all black Ray Bans / made men better break bread, say amen / bow heads like Liu Kang, old money no new friends”

Kwesta feat AKA — Day One

Kwesta feat AKA & Tweezy — Day Ones

Kwesta’s “DaKAR 2” is a modern classic. 22 songs packed in and hit records abundant. “Day One” is one of the records that standout in the double-disc album. AKA reminisces on how he has learned to see people’s true character from when he was coming up to now the famous star he is. He paints a vivid yet grim picture of what the game is like to the unseen.

“This shit is for my day ones in the trap, waiting for a dap and fake love / we were standing in the same dust, now you gotta think twice when we in the same club”

AKA — Congratulate

I’ll go on record and say, this is the best song AKA has ever done! Everything you can bring forth doesn’t hold a candle to this beauty. That’s that on that.

Supa Mega Wasn’t Always the Water Drinking Popstar We See Today was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.

First things first, the album “Motswakoriginator” is a classic.

10 years on; the IV League, Octave Couplet & Towdee Mac produced masterpiece is still a thumper. Two albums in, The Don, has given us classics, sing-alongs, mosh pit starters, love songs, he even gave throwaways and as much the lean discography — with news of a third solo album and their Morafe album circulating — Khuli’s career spans over a decade. The Don has managed to not only be relevant throughout this time but showcase his talent at every glimpse and sighting. This is when he shows up on features and decimates everything that you look ridiculous that you even conjured up a thought as silly as denying that Khulani Morule otherwise known dearly as Khuli Chana is DEFINITELY top 5 rappers in SA.

Morafe — The Whole Thing

The Motswako trio released their debut “Maru A Pula” to critical acclaim and adoration of the outfit. If you wanna start at humble beginnings, it doesn’t get better than this Thasman produced classic. We were introduced to the Tswana slash Afrikaans slang slinger Towdee Mac, the crooner of quality Kaygism & that magnetizing hypnotic flow of Khuli Chana. You ain’t heard the whole thing!

Morafe — Bumpa Numba

On the sophomore, Morafe has more personal songs and they readying the trilogy completion. Eternal songs like “Lekwalo to Motswako” but the treasure is in this very short verse where Khuli exhibits a breathing technique fish would envy. I’m willing to bet he did this one take.

Gigi La Mayne feat Khuli Chana — Ice Cream Remix

It wasn’t a smooth road for the Don. After getting involved in a shoddy profiling, subsequent shooting by cops and a long drawn out court case, The Don was in a bad space following that traumatic event. He dropped the joint “Magata (9 Shots)” detailing that unfateful night. Khuli was back doing what he loves & what better way for him to resurface than on the remix of then Dreamteam Management label mate, the goddess Gigi La Mayne. The original of “Ice Cream” was a fun record & the Don jumping on the remix made it all sweeter.

Ziyon feat Khuli Chana — If You Ready

Ziyon is famous for his make knees weak singing talents on now-defunct Liquideep. On his solo debut, “Audio Alchemy” Ziyon enlist the Motswako Originator for the final track of the album. A charming and seductive song where Khuli’s voice, as smooth and calculated as ever, charms the lady in question on what he wishes to do to her when she’s ready and his tongue twister Tswana raps make the lady think…well you get the picture.

‎If You're Ready (feat. Khuli Chana) by Ziyon

Nothende feat Khuli Chana — Oooh

Another seductive song where alongside the soothing voice of super talent, Nothende, Khuliado is on his smooth mack flow. He just slides effortlessly on the beat with breaks in between and a couple of pick ups of the pace as if he is teasing and the verse will definitely get a couple of “oohs” and “ahhs”

AKA feat Khuli Chana — Guaranteed to Bang

After much to my disappointment that he didn’t get to spit a verse on “I Want It All”. The next time Khuli Chana links up with AKA, he went and dropped a heart wrenching, tears of pride and joy-inspiring verse that flawless seems to under-appreciate it’s perfect nature.

Reason feat AKA & Khuli Chana — Yipikayay

King K is back! After a hiatus, Khuli comes on to this Reason song and drops a verse that will eternally be one of the favorites. The flow sat perfectly on this PH Raw X. The stunting calculated. As he said, “Motherfucker ain’t shit changed, Khuli o monate!” and that’s that on that.

Trompie feat Khuli Chana, Ginger Trill & Skillo— Mo Tsipe

When Khuli and Trompie linked up for “Never Grow Up” they gave us a dope joint and showed they work well together. Then on “Mahamba Yedwa” at the end, they teased with a snippet of this song. The full version is on Trompie’s album “I Am Also Human” Alongside the jaw-dropping talent of Ginger Trill and the eclectic Skillo, Khuli opens the scathingly hot production with a fiery verse.

‎Motsipe (feat. Khuli Chana Skillo & Ginger Trill) by Beatmochini

Nadia Nakai feat Khuli Chana — On The Block

This is a new joint off Nadia Nakai’s debut album, “Nadia Naked”. On a boom bap, 90s type beat Nadia spits a mean 48 targeting haters and naysayers with some scathing comments but the main attraction happens when Khuli enters the fray in the last verse. Opening the verse with an ode to Def Squad, Khuli goes on to utterly decimate the verse. Filled with qoutables and never running out of breath, Khuli’s verse is calculated and calmly delivered showing why Khuli is one of the finest to ever grace the mic.

‎On the Block (feat. Khuli Chana) by Nadia Nakai

DJ Dimples feat Khuli Chana, Gemini Major & Pound — The Don

Aptly titled joint that had to have the Don himself, Don Khuliado. With some clever references, the famous flow is as effortless as per. Khuli levels up within the verse as if to show off he can do it well whilst making it sound easy. A rare talent.

HHP feat Morafe — Danger

Eternal. Classic. Beautiful. HHP & Khuli on the verse, Towdee on the bridge, Kaygism on the hook… absolutely one of the most beloved songs in SA hip hop history. This was the first time we were all caught in a trance at the ability of the Motswakoriginator flow. It was smooth, flawless, potent, poignant, mesmerising and definitely had ALL of us in awe.

Ten Times Khuli Chana Proved he is Top 5 was originally published in Rap Rambles on Medium, where people are continuing the conversation by highlighting and responding to this story.