A year and a few months after the release of her debut album, King of Queens, Yemi Alade is back again with her sophomore, Mama Africa: The Diary of an African Woman. Big name, if you ask me, for a 15 track album, but all the same, full marks for prompt releases—clearly some musicians still care for the album.
Clearly Ms Alade has been busy since her first appearance on the scene. For one, she has been honing her style, her approach and her delivery. One can venture to say that she has been caked into a brand and she is only pushing the Trojan giftsome paces further by calling it “Mama Africa” this time.
Following the unprecedented success of her biggest single Johnny as a Pan-African hit, it is clear that she and her handlers at Effyzzie Music Group marked out her territory, which is all of Africa. By adding the matronly feminist noun, Mama, to the conglomeration of fifty-four countries, I guess their hope is to make Ms Alade an African household name.
However there is a problem with the phrase Mama Africa. Did it not use to apply specifically to the late South African musician Mariam Makeba who spent donkey years in exile on account of apartheid in South Africa? The late Makeba spent a good number of octaves singing back to the injustice that was not only racial and opportunistic and if a running mate would be picked for her, it would have been the late Brenda Fassie unde ...