Tag Archives: Ziriums

Hausa rapper Ziriums releases album “This is Me” and music video single online. Lyrics included here.

Ziriums performs “Hausa Fulani” at the 2010 Savannah International Movie Awards in Abuja (c) Carmen McCain

Barka da sallah! Happy Eid, everyone!

For a Sallah gift to yourself, consider buying and downloading, Zirium’s new album “This is Me”!

Readers may remember my previous posts, an analysis of the song “Government Money” and a translation of an interview in Aminya, on the Hausa rapper Ziriums, whose satirical “Girgiza Kai” (“Shake Your Head”) was banned by the Kano State government.

Having started his musical career in Kano, collaborating with Hausa entertainers like Adam Zango, Abbas Sadiq, Billy-O, Alfazazi, Osama bin Music, and others, Ziriums was featured on CNN in August 2008.  Ziriums moved to Abuja in 2009, where he collaborated with Abuja-based musicians Yoye, S. Solar, T-Rex, and others. His contribution to S. Solar and T-Rex’s song “Government Money” helped turn a Nigerian version of Busta-Rhymes “Arab Money” into, what I argue is, a  subversive  piece that critiques the corrupt money-obsessed culture of Abuja. Ziriums has performed at the pre-parlour music festival in Niamey, Niger, at Kano’s British council, at Ceddi Plaza in Abuja, and the Savannah International Movie awards, as well as other locations. He is also featured in Saman Piracha and Alex Johnson’s upcoming documentary Recording a Revolution.

Now Ziriums has released online his own album, “This is Me,” named for the track he released as a single music video about a month before. I think Ziriums may be the first Hausa hiphop musician or even contemporary Hausa musician to have released his album for sale online. (There is a sampler of other Hausa hiphop and popular music available for free at dandali.com, put together by the brilliant and prolific Hausa popular culture scholar Professor Abdalla Uba Adamu, which includes songs by Billy-O, Soultan Abdul, Abdullahi Mighty, Menne, Lakal Kaney, Neba Solo, and the “traditional” musician Dan Maraya Zamfara [actual name is Babangida Kakadawa].) Ziriums’ album, This is Me, is available for purchase (for those with credit cards) on on itunesmyspace, and amazon (UPDATE 10 September 2010, the amazon link I originally included is for the U.S., but you can also buy the album at amazon.co.uk and I imagine other national amazon sites. Just search for “Ziriums”). I bought the album from Amazon.com and it downloaded just fine (though very slowly on my internet here in Nigeria. You can also listen to a clip of and buy  “Vamoose,” the song he performed with Yoye and Sunny Man from the “Take Over” mix album. It is track 10.)

When I asked Ziriums how those in Nigeria, without credit cards, could access the album, he told me he is planning to soon release it on cd in Nigeria, but hoping to make capital from the online purchases before the pirates can get a hold of it. He also told me that he released the album online, because no one could censor material online, as they had censored “Girgiza Kai” from the radio and later banned it, unless they literally blocked the website from every browser in Kano. The songs can be listened to in their entirety on Zirium’s myspace album page. (Ziriums noted that several of the songs were by other musicians, but, as he had featured in them, he had gotten their permission to include them on his album. This includes one of my favourites, track 3, “Murja Baba” by Alfazazee, featuring Ziriums, Murja Baba, and Maryam Fantimoti; the songs in Fulfulde Ziriums sang with Tasiu;the song “Muyanata” by Osama bin Music, Zirium’s younger brother, on which Ziriums featured alongside Abdullahi Mighty, Shaga, and Ontos. “Kano ta Dabo,” was sung by Ziriums, Billy-O, and Adam Zango, when they formed the group Northern Soldiers)

During a July 2009 interview with Saman Piracha and Alex Johnson, where I was also present, he talked a little bit about the album he hoped to release and his struggle with censorship in Kano . I was given permission by the filmmakers to transcribe and post on this blog what he said:

“Maybe they are going to ban it as well, but I’m sure it is going to be on internet, my myspace address, my facebook address, and it is going to be on Bluetooth […] Bluetooth is the fastest way we use to spread our message. Because they will not air our songs on their radio stations. I can remember the time I finished “Girgiza Kai, the one they banned. I took it to radio stations; they played it once, you know. From the censorship board, they wrote a letter to them, you should not play this song again, you understand? And they stopped airing it. And from that day, no one aired my song again and later now they banned it. I think Bluetooth helps us a lot because I can put it on my phone. My friend will listen to it and say oh give me and I’ll push it to him. Then through that, it will go all over, all over, not even Nigeria, not even Kano, not even Nigeria, itself. It can go anywhere. Because now if I put it in your handset you carry it to the US. […]  I’m going to release my album.  I’m working on it. And when I finish it, maybe probably it is going to be sold in Kano. We’ll see how I will go behind the national constitution. I’ll go there and stand and use it. Because I am a Nigerian as well. Since Timaya and P-Square can sell their album in Kano, why not I? Why? Why can’t my album be sold in Kano?  I must censor it? Who said so? I will not do that? I’m looking at myself as Timaya and P-Square and any damn artist in the country. I’m looking at myself as the same thing as them. We don’t have any differences. The only difference is that they have their albums outside. People know them. You understand? They have the opportunity that we couldn’t get. If I have the opportunity or the chance they have, I could have reached or I could have passed their level. So my album is going to be sold in Kano insha Allah. With censors or without censors.

To learn more about Ziriums, visit Zirium’s myspace page. Two of his music videos can also be watched at his youtube channel. Ziriums also has a Facebook fan page and a ReverbNation account. [UPDATE 13 September 2010: And in a meta-moment, I’m quite delighted to see that Free Muse has picked up on this post….]

I may include more analysis of the album at a later point, but for now, so that readers can get a taste of his music, I will include Zirium’s hot new music video “This is Me,” including the lyrics and a translation, partially by me, partially by Ziriums, and partially by Professor Abdalla Uba Adamu. I will also include the complete lyrics to “Girgiza Kai” and the translation I did with Ziriums back in February 2009.  Ziriums’ “twisting” in Hausa has a punch that isn’t quite comparable with anything else in contemporary Nigerian hiphop, and I suspect it will take him far.

Enjoy

[NOTE that this video is embedded in this post under Fair Use laws for review purposes.]

“THIS IS ME

(Thank you to Ziriums for providing me with the lyrics in Hausa of the first two verses. He and Professor Abdalla Uba Adamu did the translation of the third. I’m also grateful to Osama bin Music, Zirium’s brother who helped me correct a few of the lines My translation is very basic and flawed, and corrections are welcome. )

[UPDATE: 26 April 2012, Ziriums has sent a few small corrections to the translations, which I have made here. It is now vetted by him.]

INTRO:

ASSALAMU ALAIKUM – ASSALAMU ALAIKUM

Peace be upon you – Peace be upon you

YARA KU FITO HIP HOP,

Kids come out to the Hiphop

MANYA KU FITO HIP HOP

Big guys come out to the hiphop

YARA KU FITO HIP HOP,

Kids come out to the Hiphop

MANYA KU FITO HIP HOP

Big guys come out to the hiphop

CHORUS:

THIS IS ME –ZIRIUMS X4

NINE NAN – ZIRIUMS X4

(This is me, Ziriums)

RAP 1:

BA’KO BABU SALLAMA MUGUNE KU BIYO SHI DA ‘KOTA,

The guest who does not greet with sallama is evil, chase him away with a stick.

NI NA AJE GARIYO DA ADDA NA DAU ‘KOTA TA MIC,

I dropped my javelin and my machet, I took up the mic (stick)

DA FARI SUNANA NAZIR

To start with my name is Nazir

BN AHMAD HAUSAWA LUNGUN KWARGWAN

Son of Ahmad Hausawa from Kwargwan neighborhood

YAYAN OSAMA BN MUSIC

Big brother of Osama bin Music

AH’ SHUGABAN TALIBAN NA HIP HOP A K-TOWN

Head of the Taliban of Hiphop in K-town

REVOLUTION ZAN NA MUSIC NA ANNABI SAY ALRIGHT (ALRIGHT x3)

It’s a music revolution. All who know the Prophet, Say Alright (Alright x3)

NINE INNOVATOR NA RAPPING DA ZAURANCE TWISTING DA HAUSA

I am the innovator of rapping with twisting in Hausa.

NINE MAI SUNA BIYAR TSOFFI SU KIRANI DA ‘DAN TALA

I am the one with the the five names, the old folks call me Dantala (a person who’s born on Tuesday)

MANYA SU KIRANI MUHAMMADU HAJIYATA TA KIRANI TACE NAZIR,

Other grown-ups call me Muhammadu, Hajiya (my mom) calls me Nazir

NIGGAS SU KIRANI DA ZIRIUMS

The Niggas call me Ziriums

SANNAN ÝAN MATAN GARI IDAN SUN GANNI SUCE NAZIRKHAN

Then the girls of the town if they see me, they say Nazir Khan

TO DUK KU KIRANI DA ZIRIUMS (ZIRIUMS. NI NE ZIRIUMS, ZIRIUMS)

TO, all of you call me Ziriums. (Ziriums. I’m Ziriums. Ziriums)

SUNCE WAI BA ZAN IYABA LA’ÁNANNU MASU HALIN TSIYA

They say I “supposedly” I can’t do it, that’s what the spiteful gossips say.

‘DARA ‘DAIRI YA ‘DIRU ‘DAIRA HATTA ZANANTU ALLAN YA HURA (BALA)

I through my kite up and up i cant even see it- it falls down (Arabic)

KOMAI NISAN JIFA ‘KASA ZAI FA’DO KAJI TIIIIIIM

Everything that goes up, will come down, you hear me (Tiiiim- a sound of falling rock)

YAU GAREKA GOBE GA SOMEBODY,MAI LAYA KIYAYI MAI ZAMANI-AH

Today it is your time, but tomorrow somebody better will come along.

CHORUS:

THIS IS ME –ZIRIUMS X4

NINE NAN – ZIRIUMS X4

(This is me, Ziriums)

CHORUS

RAP 2:

IM HUSTLING TAMKAR ‘DAN ACA’BA DARE RANA HAR SAFIYA

I’m hustling like a d’an achaba (motorcycle taxi driver), night and day, until the morning

DAMINA SANYI DA RANI DA DARI HIP HOP NI NAKE SO

In the time of the cool rains and in the hot season and in the night, it’s hiphop that I love

I WILL NEVER RETIRE NEVER GET TIRED,COS IM ROLLING LIKE A TYRE

I will never retire, never get tired, cause I’m rolling like a tyre

GABA DAI GABA DAI MAZAJE NA HIP HOP(SAI MAZAJE NA HIP HOP)

Go on go on all you hiphop guys (you hiphop guys)

DUKIYA MAI ‘KAREWACE,MULKI MAI SHU’DEWANE,HANYA MAI YANKEWACE

Wealth comes to an end, power passes away, the road is cut off

SAI MUN HA’DU CAN FILIN ‘KIYAMA ANAN NE ZAKACI ‘KWAL UBANKA

Let’s meet there in the place of Judgment, there you’ll suffer like you’ve never suffered before

BA ÝAN SANDA BA JINIYA-GA ‘DAN BANZAN GO-SLOW

No police to escort you, no siren, you’ll see a terrible go-slow

CAN GEFE GUDA WALAKIRI DA SANDA MAI ‘KAYA KAI MISTAKE YA TUMURMUSAKA

There to the side the angel of hell with a rod of thorns, if you make a mistake he’ll beat you stiff.

SANNAN DUKKAN GA’B’BAN JIKINKA DUKA SUNE ZASU BABBADA SHAIDA

Then all the joints of your body, all of them will give testimony

RANAR BABU P.A DA LAWYER BALLE ÝAN BANGAR SIYASAGGA MASU

That day there will be no P.A., no laywer, much less those gangsters of politicans who

SHIGA GIDAN REDIYO SUYI ‘KARYA DAN ANBASU NAIRA,

Go into the radio house and lie to get naira (money)

INZAKA FA’DI FA’DI GASKIYA KOMAI TAKA JAMAKA KA BIYA

If you’re going to say something, tell the truth, in everything walk in the way of your forebearers

ALLAH BAIMIN KARFIN JIKIBA BALLE IN TAREKA IN MAKURE

God didn’t give me a strong body, I could have attacked your neck,

AMMA YAIMIN KAIFIN BAKINDA HAR YA WUCE REZA A KAIFI

But he gave me a sharp mouth, sharper than a razor.

YES I’M SAYING IT.

Yes, I’m saying it.

CHORUS:

THIS IS ME –ZIRIUMS X4

NINE NAN – ZIRIUMS X4

(This is me, Ziriums)

Third Verse

(translated by Professor Abdalla Uba Adamu (to the part about Dala Rock), after that it is translated by Ziriums, himself. Both Ziriums and Prof sent the translations to Alex Johnson and Saman Piracha for a documentary on Hausa hiphop, Recording a Revolution. Translations used by permission of filmmakers. I’ve made a few very small edits to both translations for a more informal feel)

CAN NA GANO FACE MAI SIFFAR LARABAWA

Then I saw a face like an Arab beauty

NA CE MATA ZO TA TAKA

I said to her, come on let’s dance

TA CE BA TA TAKU DA TAKALMI

She said she doesn’t dance with her shoes on.

SAI DAI IN TA TAKA A SANNU

But she will dance slowly

TATTAKA A SANNU

(Go ahead) dance slowly

AMMA KUMA KAR KI GIRGIZA

But don’t shake your body

DOMIN IN KI KA GIRGIZA

Because if you shake your body

RUWAN KOGI ZAI AMBALIYA

There will be a flood

SAI BARNA TA WUCE TSUNAMI

More destructive than Tsunami

HAR DUTSEN DALA YA TARWATSE

Which will destroy Dala Rock.

(From here translation by Ziriums)

TATTAKA KI TAKA RAWAR DON TAKU KI TAKE TEKU,

Dance, Dance my type of dance, so light you dance on the ocean-top

TAKE TAWA KISA MUSU TAKA TAMU AKE TAKAWA TAKA

Step like me ‘cause it’s our type of step they want to dance.

TATTASAI TANKWA DA TUMATIR ITA TASANI TONON TANA

Chilli pepper soup and tomatoes make me dig for earthworms

TATTABARU TARA NE NA TARE TUN RAN TALATA MUKE TAKAWA,

I gathered nine doves. We’ve been stepping out since Tuesday

(The following stanza is an old Hausa poem (according to R.C. Abraham’s dictionary) sung for a “children’s game of prodding heaps of sand to find things hidden there.” Zirium’s brother Osama bin Music explained that the game includes catching the hands of one on whom a twig falls. Ziriums left it untranslated, but I’ve translated the latter part, which I think I’ve understood correctly. If I haven’t please correct me!)

GARDO GARDO –GARDON BIDA

ATTASHI BIRE –KAMANIMAN

GYARAN FUSKA –DA WUYA YAKE

ZAN KAMA KA –

(I’ll catch you!)

KAMANI MAN

(Catch me, then)

KAMANI MAN

(Just catch me then)

CHORUS

THIS IS ME –ZIRIUMS X4

NINE NAN – ZIRIUMS X4

(This is me, Ziriums)

Shout outs:

Ziriums Intersection, giant beatz, Pro Okassy,Dekumzy, Solomon, Korex, Solar

In the house man You know what I’m saying?

Osama bin Music, Pastor Dan, Yo, this is Intersection,

Giant beatz K-town, baby.

Daga Kano, Bahaushe, Yeah Ziriums kar ka manta da sunan

From Kano, a Hausa, Yeah Ziriums, don’t forget the name


To listen to Girgiza Kai, which was banned by the Kano State Government, check out track number 4 of the “This is Me” album.

Girgiza Kai….

.. ..

Ehen. This is Pastor Dan productions. Ziriums…

.. ..

Mai dokar bacci, ya bige da gyangyed’i.

The one who says sleep is against the law is the one nodding off…….

.. ..

Kar ku taka. Ku girgiza kai kurrum.

Don’t dance. Just shake your head…..

.. ..

Girgiza girgiza

Shake shake….

.. ..

.. ..

Chorus:….

Girgiza kai/ Girgiza kai. Girgiza kai. Girgiza kai.

Shake your head, shake your head. Shake your head. Shake your head…..

.. ..

Girgiza kai. Girgiza kai. Girgiza kai.

Shake your head. Shake your head. Shake your head…..

.. ..

Girgiza kai. Girgiza kai. Girgiza kai.

Shake your head. Shake your head. Shake your head…..

.. ..

1.

Kai karku taka kun san an hana.

Hey, don’t dance, you know they banned it. ….

.. ..

Gwamnan garinmu ran nan. Shi ne ya hana.

The governor of our city here. He banned it…..

.. ..

In ka ji kid’a ya yi dad’i. Girgiza kai kurrum.

If you hear a good beat, just shake your head…..

.. ..

Eh, In ka ji kid’a ya yi dad’i. Girgiza kai kurrum.

Yeah, if you hear a good beat, just shake your head…..

.. ..

Chorus….

.. ..

.. ..

2.

Kai tsalle waka a gidan giya.

Hey,[stop] jumping and singing in a bar….

.. ..

In an kafa doka. Ku bi ta daidai wisely.

If they make a law, make sure you follow it wisely

.. ..

Eeeeh, an hana. Eeeeh, sun hana.

Eeeh, it’s against the law. Eeeeh. They said it’s against the law…..

.. ..

Chorus….

.. ..

3.

Kai ku daina arufta an hana.

Hey stop roughriding, it’s against the law…..

.. ..

Kyale tukin maye sassauta, an hana.

Stop drunk driving. It’s against the law…..

.. ..

Eeeeh, an hana. Eeeeh sun hana.

Eeeeh, it’s against the law. Eheheh, they said it’s against the law…..

.. ..

Chorus….

.. ..

.. ..

4.

.. ..

Kai mai tauye mudu an hana

Hey, you, who weight your measures. It’s against the law…..

.. ..

Algus a cikin wasko, ai shi ma an hana

You, who thin down food. It’s against the law…..

.. ..

Eeeh an hana. Eeeeh, sun hana.

Eeeeh, it’s against the law. Eeeeh, they said it’s against the law…..

.. ..

Chorus…..

.. ..

5. (RAP)

.. ..

Wanda duk ya hana mu sana’a

Anyone who keeps us from working….

.. ..

Ya Allah ka zuba musa maruru sittin da bakwai

Oh God, send him sixty-seven boils….

.. ..

A ta karshensa shawara da basir mai seedling

In his rectum, give him yellow fever and piles. ….

.. ..

Sore throat ya ..kama.. mak’oshinsa.

May his throat catch fire

.. ..

Likitoci su kasa ganoshi.

May doctors say they can’t find what’s wrong. ….

.. ..

Da Dala da Goron Dutse

So Dala and Goron Dutse [hills in ….Kano….]….

.. ..

Da gidan birni da gidan k’auye

The house in the city and the house in the village….

.. ..

Na hada na cusa a gajeran wandon mmmhmmhmmm

I put ‘em together in the underpants of his mmhmmmhmmm ….

.. ..

….Bari…. d’aya ne.Ya ji labari. ….Bari…. d’aya bai san komai ba.

One side knows what’s going on. One side has no idea…..

.. ..

Eeeh an hana. Eeeeh sun hana.

Eeeh, it’s against the law. Eeeeh, they said it’s against the law…..

.. ..

Come on.

.. ..

Chorus….

.. ..

.. ..

6.

Mmmmmm, waka ba gadona bace.

Mmmmm, I wasn’t born into singing. ….

.. ..

Dan malam ne ni k’yank’yank’yan wasu sun sani

I’m the son of a complete Islamic scholar, everybody knows…..

.. ..

Kar ku ce min na k’i halin malam samsam kurrum.

Don’t tell me I don’t have character…..

.. ..

Na yi karatun boko har da na addini, kwarai.

I’ve done Western education and religious. Oh yes…..

.. ..

Samartaka ce na kad’ana domin zamani.

It’s the way of the young. It’s the beat of our time…..

.. ..

Eeeeh an hana. Eeeeh, sun hana.

Eeeh it’s against the law. Eeeeh, they said it’s against the law….

.. ..

Chorus 2X….

.. ..

.. ..

End

(c) Lyrics: Nazir Hausawa
Translation: Carmen McCain

Interview with Hiphop artist Ziriums in this week’s Aminiya

Mujullar Rayuwa, Aminiya, 16 April 2010

"Nazir Ahmad Hausawa: Ganawa da Fitaccen Mawak'in Hausa na Zamani"

This week’s Aminiya newspaper featured an interview with Hausa hiphop artist Ziriums, whose collaboration with Supreme Solar and T-Rex, I have written about earlier on this blog. The interview in Hausa (with my translation) is copied below. To read the interview on the Aminiya website, click here and to hear some of Zirium’s music, click on his myspace page, here. [[UPDATE 31 August 2010, You can also buy his new album “This is Me” on itunesamazon.com, and myspace.]]

The interview opens with an introduction that I will not directly translate. I have directly translated the rest of the interview, but keep in mind that I likely have made at least a few small errors. I welcome corrections. If you have any, please leave them in the comments section, and I will fix the translation. In the introduction,  Bashir Yahuza Malumfashi, the interviwer, talks about how as time brings new types of music the old is not left behind. The new music, too, can give sermons and teach lessons.

Malam Nazir, idan za mu fara tattanawa, zan so jin amsar cewa, wane ne Nazir Ahmad Hausawa?

Kamar dai yadda ka ambata, sunana Nazir Ahmad Hausawa kuma an haife ni a ranar 5 ga watan Fabrairu, cikin shekara ta 1980, a Unguwar Hausawa da ke cikin karamar Hukumar Gwale, Jihar Kano. Na fara karatun share fagen shiga firamare a 1983, a Galadanchi Nursery School. A 1984 ne na fara karatun firamare a Gwale Special Primary School, inda na yi shekara biyar na dauki jarabawar zuwa sakandare. A cikin shekarar 1990 ne na je Gobernment Junior Secondary School Warure, inda daga nan na dauki jarabawa zuwa Senior Secondary School Gwale. Bayan na gama a 1997, na tafi Kwalejin Share Fage Shiga Jami’a ta Kano a shekarar 1998. Na yi shekara biyu a nan, inda bayan na kammala, na fara karatu a Kwalejin Kiwon Lafiya (School of Hygeine), inda bayan na yi shekara biyu, ban kai ga yin jarabawar karshe ba, sai na bar makarantar, saboda na samu gurbin karo karatu a Federal College of Education, Kano. Na fara karatu a can, daga shekarar 2001 zuwa 2003, inda na kammala. Wannan shi ne dan takaitaccen tarihina.

Malam Nazir, if we may start, I’d like to hear you answer this question: Who is Nazir Ahmad Hausawa?

As you have mentioned, my name is Nazir Ahmad Hausawa. I was born on 5 February 1980 in Hausawa area, Gwale Local Government Area, Kano State. I started school in 1983 at Galadanci Nursery School. In 1984, I started primary school at Gwale Special Primary School where I spent five years before I took the exams to go on to secondary school. In 1990, I went to Government Junior Secondary School, Warure, which is where I took the exams to go on to Gwale Senior Secondary School. After I finished in 1997, in 1998 I went to University preparatory College of Share Fage. I did two years there, and after I finished, I started my studies at the School of Hygiene, where after I had spent two years, I left the school before I did my final exam. This is because I had gotten admission to Federal College of Education, Kano. I started my studies there from 2001 to 2003, where I finished. This is a brief recap of my life.

Ga shi ka yi fice a fagen shirya wakokin zamani, ko yaya haka ta faro a rayuwarka?
Ka san cewa mutane sun ce ita waka baiwa ce, to lallai ni na amince da haka, cewa baiwa ce. Na fara waka ne a sanadiyyar yawan sauraren wakokin da nake yi, haka kuma mahaifina shi ne Sakatare ko kuma a yanzu shi ne Odita na kungiyar Usha’un Nabiyyi, masu wakokin yabon Annabi (SAW). Su ne suka fara kafa kungiyar mawakan yabon Annabi a Jihar Kano, inda suke tara mutane suna zama suna rera wakokin yabon Annabi, kodayake su ba su hadawa da kida, wakar kawai suke yi, sai dan tafi da hannu da suke dan yi a wani lokaci. Tun ina yaro, mahaifin nawa kan tafi da ni wajen da suke wannan zama na bege, kuma tun daga lokacin nan harkar waka ta fara shiga raina.

Ok, so you’ve come out as a modern musician? How did your life bring you to this?

You know, they say that singing is a gift, and I agree with that—it is a gift. I started singing because I was always listening to music. My father is the secretary or actually now he is the Auditor of the Usha’un Nabiyyi Group, those who sing in praise of the Prophet (PBUH). They were the first ones in Kano State who established a group of praise singers to the Prophet. They would assemble people to sit  and sing praises to the Prophet. They didn’t combine it with drumming, they would just sing acapella. Every once in a while, they will wave their hands around [?]. Since I was a child, my father would go with me to the place where they would sing of their longing. And since that time, the love of music entered my soul.

Za mu iya cewa a harkar waka, kai dan gado ne ke nan?

To, haka din ne, amma shi mahaifina wakokin yabo yake yi, ni kuma na zamani nake yi. Daga baya ne sai muka kafa wata kungiya ta mawaka, ni da abokina Ali Jamilu a nan unguwarmu, Hausawa. Mun samu wannan kwarin gwiwa ne saboda yawan sauraren wakokin Turai da muke yi, wanda haka ya sanya muka kafa wannan kungiya, wacce muka sanya wa suna ‘kungiyar Nigogin Yabon Ma’aiki.’ Muna yin wakokin yabon da salon nan na Rapping, amma wakokin addini ne, ta salon kwaikwayar wakokin da suka yi fice a kasashen Turai. Kamar akwai wakar Boyz II Men, mai taken End of the Road, wacce muka canza ta zuwa wakar yabon Manzon Allah, inda ake yi mana kida da mandiri, mu kuma muna rerawa. Da farko sai aka rika yi mana dariya, ana kushewa, cewa wane ne zai ji irin wannan wakar yabon, ta salon Turanci? Amma dai ni daga nan zan ce na fara waka sosai. Daga nan ne na hadu da Alhaji Hamisu Iyan-Tama, inda na je ofishinsa, inda na kalli wani fim mai suna ‘Badakala’ wanda su suka shirya shi. Daga nan na fara sha’awar harkokin fina-finai da sauran harkokin nishadantarwa irinsu. A nan na hadu da su dan’Azumi Baba Cediyar ’Yangurasa da su Ado Ahmad Gidan Dabino da sauransu. Ni a lokacin, na yi sha’awar in fara fitowa a matsayin jarumi a fina-finai, amma saboda kankantar jikina a lokacin, sai aka ce ba zan iya fitowa a wannan matsayi ba, sai idan ana bukatar fitowar yara, za a sanya ni. Daga nan na zama dan aike a ofishin Iyan-Tama, inda ake aike na kamar sawo abinci ko daukar janereto idan an je daukar fim, da sauran hidindimu irin wadannan. Muna cikin haka sai dan’Azumi ya rabu da Iyan-Tama, ya bude nasa ofishin, wato R.K Studio, ni kuma sai na bi shi. A lokacin ne ya sayi abin kida na zamani wato Piano/Yamaha. A kan wannan na’ura na fara koyon kidan zamani da kaina, har ma na fara iyawa. Daga nan muka samu matsala da shi dan’Azumi, na bar wurinsa, na yi zaman shekara daya ba tare da na yi wannan harka ta kida ba. Na koma makaranta ne sai na hadu da su Salisu Mu’azu, lokacin sun bude ofis din Lenscope Media a Kano. Ya kira ni ya ce in je in fara koyo, inda na je na fara koyon kidan kwamfuta a wurin Ibrahim Danko. Ni ne Bakano na farko da ya fara koyon kida da kwamfuta a lokacin. Da tafiya ta yi tafiya ma, sai aka bar mini kamfanin Lenscope Media na rike shi ni kadai. Ka ji yadda aka yi na fara waka kuma na shiga harkokin kade-kaden zamani.

Could we say that you have inherited your music?

You could say that, but my father sings praises [to the Prophet] and I sing modern music. After some time, we started a singing group, me and my friend Ali Jamilu, in our neighborhood, Hausawa. We did this because we were always listening to Western music,,which is what made us establish this group. We named it “The Nigga’s Who Praise the Messenger.” We were doing this Islamic praise-singing in a rap style. But although they were using the style we learned from Western music, they were religious songs. Like the Boyz II Men song, “End of the Road,” we changed to become a song in praise of the Prophet of God. The mandiri beat would be done for us, and we would sing. At first, everyone was laughing at us and didn’t have any use for us. They said who has ever heard this kind of Islamic praise in a Western style. But from this time, that’s when I really started singing. After that I met with Alhaji Hamisu Iyan-Tama, when I to his office because I had seen a film named “Badak’ala” which his company had produced. From there I became interested in the film industry and the rest of the entertainment industry. This is where I met with ‘Dan Azumi Baba, Ced’iyar ‘Yangurasa, Ado Ahmad Gidan Dabino, and others. At the time I was interested in being an actor in films, but because I was very small then, they said that I couldn’t appear as an actor unless they needed children, then they would cast me. After that I found employment in Iyan-Tama’s office. They would send me to buy food or carry the generator if they went on a film shoot, and other services like these. I was going along like that, when ‘Dan Azumi left Iyan-Tama and opened his own office, R.K. Studio, and I followed him. At that time, he bought a new kind of instrument, the Yamaha piano. It was on this machine that I started teaching myself how to produce beats, until I started being able to do it. I ended up having a problem with D’an Azumi, so I left his place and spent about a year without doing anything with music production. I returned to school until I met with Salisu Mu’azu, when they opened the Lenscope Media office in Kano. He called me to come learn, and this is where I started learning how to produce music with a computer together with Ibrahim Danko. At that time, I was the first Kano-man who started learning music production on the computer.  As time passed and people left Lenscope Media company, I was left alone holding on to what I knew. [?] So now you have heard how I started singing and how I entered the contemporary music industry.

Wace waka ce ka fara yi a rayuwarka?
Tirkashi! Kana nufin tun ina yaro ko kuwa dai bayan na shiga harkar? Lokacin da na yanke hukuncin cewa na zama mawaki, wakar da na fara ta farko ita ce, ‘Kano Ta Dabo Tumbin Giwa.’ Na yi wannan waka ne tare da Adam A. Zango da kuma Billy O.

What is the first song you did in your life?

Tirk’ashi! Do you mean since I was a kid or after I entered the industry? When I made up my mind that I had become a singer, the first song I started with was “Kano ta Dabo Tumbin Giwa.” I sang this with Adam A. Zango and Billy O.

Maganar alabe ko faifai fa, ya zuwa yanzu ka shirya alaben wakoki guda nawa?
Ina da alabe guda daya da na gama shiryawa, wanda na sanya wa suna ‘Kyandir’ amma ban kai ga sakin shi kasuwa ba. Yana dauke da wakoki ne a kan soyayya ta matasa sai kuma waka guda daya da na yi kan Arewa. Na yi kokarin nuna cewa mu ma a Huasa muna da salon wakoki, wato ba kwaikwaya muka yi daga Turawa ba. Wato muna da su tun da dadewa, a yanzu dai mun zamanantar da su ne kawai.

So, let’s talk about your album or record. How many albums have you produced?

I have one album that I’ve finished producing, named “Kyandir” but I haven’t released it to the market yet. It’s comprised mostly of songs on love, and then there is one song that I did on the North. I tried to show that we Hausa have a style of singing that we didn’t copy from Europeans. We’ve had this music for a long time and now we are just modernizing it.

Cikin wannan lokacin, masu sana’ar kade-kade da wake-waker na fuskantar wani kalubale ko kuma abin da wasunku ke ganin kamar takurawa daga Gwamnatin Jihar Kano, me za ka ce game da wannan rashin jituwa da ke tsakaninku da hukuma?
Wannan badakala dai tana faruwa ne saboda wasu mutane da suke ganin kamar sun fi kowa ilimi, sun fi kowa sani, kai ba ka iya ba. A matsayinka na mai basira, mai fasaha, shi sai ya zo ya yi maka jagora, ya nuna maka ga yadda yake son ka yi abin da ke cikin tunaninka.

So during this time, musicians are facing pressures or what some of you see as restrictions from the Kano State Government. What can you say on the lack of harmony between you all and the [censorship] board?

These problems are occurring because some people think they have more knowledge than anyone else, they know more than anyone else—[saying] you aren’t able to do this. In your position you are talented and skilled. Then he comes and says he will guide you and show you how he wants you to do what you already know. [?]

Ba ka ganin wannan kalubale daga gwamnati zai iya dakushe muku azama?
Sosai ma kuwa, wannan abu ya dakushe mana azama kwarai da gaske, domin idan ka kalli harkar, da dama daga cikinmu mun dauke ta sana’a, mun dauke ta a matsayin hanyar cin abinci, wasu kuma sun dauke ta a matsayin kamar wani abu na iskanci. Ni ba na cikin wadanda suka dauki wannan harka a matsayin iskanci. Ni na dauke ta ne a matsayin sana’a, domin kuwa albarkacinta ga shi na zama Injiniya mai sarrafa sauti (Professional Sound Engineer). Na yi kwas a birnin Paris na kasar Faransa, na yi kwas a Ingila, ga shi kuma a yanzu ina aiki tare da BBC. Na samu wannan daukaka ne duk albarkacin wannan harka da wasu ke ganin kamar iskanci ce, mu kuwa muka ce sana’a ce.

You don’t think this pressure from the government could hinder your progress?

Sure it can, this thing has really, truly hindered our progress.  Because if you look at the industry. It is the opportunity that some of us have to take up a profession. We take it as the path to earn our daily bread. Others take it as a way to live immorally and get into trouble.  I’m not among those who are in the industry to be immoral. I take it as a profession. I have been blessed to become a Professional sound Engineer. I have done a course from Paris, France, and I’ve done a course from England, and now I’m working with BBC. I have found opportunities and all the blessings of this industry that some see as mere immoral living. But we say it is a profession.

Me ne ne  sakonka ga al’umma dangane da wannan sana’a taku ta kida da waka?
Kirana ga al’uma shi ne, ka ji, ka ki ji, ka gani, ka ki gani. Duk abin da aka ga matasa mun taso muna ta yi, a yi mana kyakkyawar fahimta, a daina yi mana kallon cewa mu ’yan iska ne, wai muna bata tarbiyya, wai muna kaza-kaza. Ko ana so ko ba a so, idan mu an hana mu wannan harka, an danne mu ta karfin tsiya cewa ba za mu yi ba, to fa sai an sayi wakokin Timaya a Kano, sai an sayi wakokin P-Skuare a Kano, sai an sayi wakokin Dbanj a Kano, wanda lalatar da ke ciki ta ninka sau dari fiye da namu na Hausa, balle ma wakokinmu na Huasa babu wani abu na lalata a cikinsu. Wasu na cewa ai su wakokin su Timaya da Turanci suke yinsu, to a tuna fa, wadanda ke saurarensu a Kano sun je makaranta fa, suna fahimtar duk abin da suke fada. Ga shi kuma ba a hana sanya wakokin nasu a gidajen rediyon da ke Kano ba, har gobe ana sanyawa. Amma wai namu saboda da Hausa ne, ga shi nan ana hanawa. Don haka, ina kira da cewa, ya kamata a bi mu a hankali, ba a yi mana karfi-karfi ba.

What is your message  to the readers about  your music profession?

What I have to say to the readers is this: whether you hear or you refuse to hear, whether you see or you refuse to see. Everything that is seen as a profession, we have introduced it and we are still doing it. Understand us very well and stop looking at us as if we are rogues, or that we are spoiling the upbringing of children, or we are doing this and that. Whether you like or you don’t like, if we are kept from this industry, if we are weighted down into destitution by those saying, we aren’t allowed to do it, well, then people will buy Timaya’s music in Kano or they will buy P-Square’s music in Kano , or Dbanj’s music in Kano, which are a hundred times worse than our Hausa songs. And there is not anything bad in our Hausa songs. Some are saying, oh, that Timaya’s songs are in English, but remember, those who are listening to them in Kano have gone to school, they know what’s being said in them. And those songs haven’t been banned from the radio stations in Kano. Until tomorrow they will keep playing them. But ours, supposedly because they are in Hausa, they ban them. So, I am saying that they should take care how they treat us and not be too hard on us.

“Government Money” a remix of “Arab Money” by Supreme Solar, T-Rex, and Ziriums

A few months ago I wrote a post on 11 songs that had been banned by the Kano State Censorship Board in Kano. This memo prohibiting the sale of the songs, photographed by documentary filmmaker Alex Johnson, was posted at the market where cds are sold.

11 Songs banned by the Kano State Censorship Board. Photo (c) Alex Johnson

The third on the list of songs that were banned was “Girgiza Kai” (“Shake your head”) by Hausa rapper Ziriums, which was not officially released but uploaded to his myspace page. In “Girgiza Kai,” Ziriums, warns those who hear his song,

“Kai karku taka kun san an hana.

Hey, don’t dance, you know they banned it. ….

.. ..

Gwamnan garinmu ran nan. Shi ne ya hana.

The governor of our city here. He banned it…..”

Instead you should just

“Girgiza kai.”

“Shake your head.”

He also satirically uses the proverb “Mai dokar bacci, ya bige da gyangyed’i.” “The one who says sleep is against the law is the one nodding off…” to critique

“Wanda duk ya hana mu sana’a”

“Anyone who keeps us from working….”

(You can listen to the song on Zirium’s Myspace page, and read the lyrics and an English translation here.).. Already having left Kano for Abuja when the song was banned, Ziriums has hooked up with other Abuja-based musicians, Supreme Solar and T-Rex, to continue his controversial rapping on a larger national scale. Intersection Entertainment has recently released S. Solar’s “Government Money”, (featuring T-Rex and Ziriums),  a hilarious take-off on Busta Rhymes’ and Ron Browz’s notorious “hit”: “Arab Money.”

You can view “Government Money” here. Please note that all the videos embedded in this blog post are being done so under FAIR USE laws for review purposes:

Both the original “Arab Money,”  and remake of the Busta Rhymes’ tune contain wildly offensive portrayals of Arabs and Islam. (The remix featuring Lil Wayne, P. Diddy and even self-proclaimed Muslim Akon, is even worse, and uses actual verses from the Qur’an as the chorus.) The Wikipedia article written about the remix of the song notes that the chorus is “Bismillāhi r-raḥmāni r-raḥīm. Al ḥamdu lillāhi rabbi l-‘ālamīn”;  “In the name of Allah (The God), most Gracious most Merciful. All Praise is due to Allah, Lord of the worlds.” This chorus is intoned behind the American rappers making dramatic poses , flipping bling, and rhyming about their wealth. The Wikipedia article continues to point out that Busta Rhymes uses the Islamic greeting “As-Salamu Alaykum Warahmatullah Wa Barakatu.” “May Peace and blessings of Allah(The God)be upon you” (A Greeting), to rhyme with “While I stack another billion and give it to the block fool.” Similarly Diddy says ““Al hamdu lillah” ( “All Praises to Allah”) to rhyme with: “With my billions pilin'”

Watch the original “Arab Money” here:

And the remix here:

Obviously, while self-consciously funny, the song is sacrilegious and insulting to most Muslims (though if you read through the comments on youtube or various lyrics websites there are occasional self-proclaimed “Arabs” who take pride in it). I could focus my whole blog post on this issue; however, since this has already been done multiple times (here, here, here, here, here, and here) and since I’m more interested in how S. Solar, T-Rex, and Ziriums rewrite the song in the Nigerian context, I’d like to look more at what seems to be Busta Rhyme’s conscious intention, which seems to be a celebration of bling—exemplified in what, with blinding cultural chauvinism, he calls “Arab money.” He and his fellow musicians are not affected by the recession, he implies, they just move on to the “Arab money,” which “Arabs” know how to respect:

Prince Alwali, Bin Talal, Al Saul
They respect the value of my worth in Maui, Malaysia
Iran and Iraq, Saudi Arabia!

Indeed, in an MTV article, Busta defends himself by describing the way the song was recorded:

[Ron] picked up the phone, and I was like, ‘What are you saying on this joint?[…]

When Browz explained to Busta that he was, in fact, saying “Arab,” Busta was elated.

“I was like, ‘This is genius,’ ” he said. “Just the timing of this. The fact that the recession was crazy. Fortune 500 companies left and right are needing bailouts. I was like, ‘You ain’t hearing none of that going on with none of the people in the Arab community or Arab culture. None of that.’ I was like, ‘You know something? This is a great record to inspire people to incorporate wealth in their vocabulary [my emphasis], because rich has become the new broke.’ ‘Arab Money’ — it felt right. Let’s take something from a culture that has exemplified the rich qualities of spirituality and economic and financial stability for thousands of years. They’ve instilled that in their kids for thousands of years.”

Busta ostensibly praises the “rich Arab culture,” yet the “culture” he claims to admire is an Orientalist fantasy of gold-glittering caves and harems of nymphomaniacs, tied to earlier colonial grabs for land, wealth, and power. At time code 1:54 in the first video he brags that he is

sitting in casinos while I’m gambling with Arafat,

money long now, watch me purchase pieces of the almanac.

Both versions entwine exoticized presentations of supposedly “Arab” moneyed lifestyles with the standard  hiphop hymn to wealth, materialism, money, and women—clichés exemplified in 50 Cent’s “I Get Money,” among many others.

These clichés have been adopted (with more or less irony) in Nigerian pop music. (Examples  feature Nollywood-like Lagos settings with plush leather couches, sleek clubs, wine glasses, expensive cars, and scantily clad (often light-skinned) women. See Faze’s Need Somebody,  P-Square’s “Do Me, I Do You,” Dbanj’s “Booty Call,” or Style Plus’s “Call my Name.”) These popular songs exemplify the “Nigerian dream” of  making it big and partaking in the glamourous party-world  of Ikoyi, Victoria Island, Maitama, or abroad. In fact, before Intersection’s “Government Money,” Olu Maintain had come out with a track named “Arab Money,” as well, likely inspired by the Busta Rhymes video although he doesn’t seem to have shot a video for it yet. The chorus involved the repeated phrase “I go spend Arab Money, just spend Arab money,” alongside wistful tracks about going “to Abu Dhabi, where we can walk freely.”  In this track, there does seem to be more self consciousness about the representation of wealth than much other Naija-pop, as can be seen in the observation that in Dubai “recession no dey there” and  in this exchange at timecode 3:04 between Olu Maintain and Bondo Krazzy:

Olu Maintain: On second thought, there are some things money can’t buy [….] You know what I’m talking about?

Bond Krazzy: Hei, Mr. Olu, money can never buy love, Mr. Olu.

The Nigerian music/music videos I find most compelling play with a more self conscious reference to wealth as it is related to corruption and give ironic nods to the particularly Nigerian innovations in 419, from the celebration of the yahoo yahoo boys in Olu Maintain’s Yahoozee, which features row upon row of big hummers to the more self-consciously satirical “I Go Chop your Dollar”  by comedian Nkem Owoh (who in a twist of fate was recently kidnapped by entrepreneurial criminals in  what has become the hottest new way to “chop money” Apparently, Owoh was released when his family forked over N1.4 billion.)

Watch Yahoozee here:

Watch, “I go Chop your Dollar” here:

With “Government Money,” Intersection musicians Supreme Solar, T-Rex, and Ziriums follow in this satirical tradition: Rewriting Busta Rhyme’s hymn to moola, these Abuja-based musicians echo the “celebration” of money, but with an ironic edge—rapping not of the wealthy lifestyle attainable to them as musicians but to those Abuja Big Boys who are eating “Government money.”

In the tradition of “Yahoozee” and other videos where flashy cars become symbols of power, sexual prowess, and wealth, Supreme Solar raps about his “new Range Rover” leaning against the glossy side of the jeep. The camera zooms out to focus on the license plate, which says FG Kudi, (for Federal Government Money). The use of “Abuja” here is a metonym for government, politics, and all the “promise”of money that Abuja offers those who come to Nigeria’s airbrushed capitol where the poor (or even the simply “middle class”) are swept out to the crowded outskirts of the city. To participate in the lifestyle, then as T-Rex says

What’s the access here?

We aint makin bucks in excess

Having stocks and investments

But to me it doesn’t’ make sense

To make the excessive “Abuja-style” money, one must go a bit further than stocks and investments, “Duping NGO’s for Virgin dough” and other shady transactions.

What most creates tension between “Government Money” and the original “Arab Money,” taking the tune beyond the “Yahoozee” genre (pushing it more in the direction of Eedris Abdulkareem’s funny but incisively critical “Mr. Lecturer”),  is the inclusion of Ziriums, a Northern Muslim from Kano state, with his Hausa chorus “Mu ci kudin Abuja, Mu ci kudin gwamnati” (Let’s eat/spend Abuja Money, let’s eat/spend government money”) and his fierce spoken commentary at the end of the song. Interestingly (even uncomfortably), Ziriums’ chorus in Hausa is used where in the “Arab Money” remix the Qur’anic verses are used, layering on popular Nigerian conflations of Arab/Muslim culture with the Hausa-speaking north, both imagined and real. By the second day the video had been posted, there was already a comment by user “injustice2mankind” saying, “That fool Ziriums is killing me with his attire…note the arab neck scarf on his agbada….so funny.”

Ziriums featured in “Government Money” by Supreme Solar

Where in the American version, there is a blasphemous use of the Qur’an to rhyme with verses about the love of mammon, in this version, Ziriums’ chorus takes the “Arabic” sound and turns it to a satirical first person boast about “devouring government money.” Here, he subversively links Busta Rhymes et al, and their blasphemous use of Islamic creed to support debauchery, with those “Big Men” who use religion (whether Christianity or Islam) as a cover to justify their scramble for the “national cake.” That is, the very elite who tend to self-righteously decry the “immorality” and “cultural imperialism” of hiphop as a genre are the very ones whose personal habits tend have the most in common with the gold-plated lifestyles of those American artists.   Dressed in a Big Man’s babban riga, Ziriums and the other two artists take on the personas of government contractors and professional fraudsters, blurring the boundary between the two.

“Cin kudi” (literally “eating money”), the Hausa phrase that parallels the pidgin phrase “chopping money,” reflects both the everyday language of Nigerians when they speak of corruption and the concept in popular culture that corrupt leaders are both metaphorically and literally consuming the wealth of the nation: taking “a chunk of the national cake,” “duping NGOs,” taking their “contracts’ tax”. These conquests make T-Rex “hungrier than ever,” invoking images seen in political cartoons of monstrous fat bellied leaders who as in Ngugi wa Thiong’o’s novel Devil on the Cross are in a competition to see who is the greatest thief and robber. If T-Rex’s stomach is burning and hungry,” and “grumbling funny” in hunger for more assets, at the end Ziriums goes into a fierce tirade:  “Yunwa, Talauci, […] Don haka, dole mu ci kudin gwamnati, kudin Abuja, dole mu kwashe .” “Hunger, poverty.[…] This is why we must consume government money, Abuja money, we must spend it.” On one hand, he echoes Nkem Owoh’s narrative in “I Go Chop your Dollar,”

“I done suffer no be small. Upon say I get sense Poverty no good at all, no Na im make I join this business 419 no be thief, it’s just a game .”

On the other hand, Ziriums points out that Abuja money and government money, in fact, belongs to everyone in the country—If there is hunger and poverty, then ordinary people must also have access to the nation’s wealth.

Nigerian hiphop is often criticized for merely mindlessly copying American rap. I have no doubt that some may point to the Intersection’s ripping of the production and “sound” of Busta Rhymes “Arab Money” as an illustration of such “unoriginality.” However, the transfer, at least in this case, profoundly changes the song: adding to, subverting, and commenting on the original. “Government Money” ends up being not just a critique of corruption among Nigeria’s wealthy elite, but also a parody/critique of the mindlessly obscene celebration of bling in “Arab Money”—and of the exoticizing colonization of other parts of the world in the Busta Rhymes tune and so often found in American hiphop. (See for example: Ludacris’s “Pimpin All Over the World,” countless beach scenes in the Caribbean, or Nigerian rapper Eedris Abdulkareem’s beef with 50 Cent over a seat on an airplane, about whom he said “You cannot treat me as a second and or third class citizen in my own country, I will not take it from anybody.”)  When to a background of the chanted Qur’an, P. Diddy [wearing two cross chains] raps “Fuck the recession. I’m still investin, I’m about to buy Dubai, and swim in the shark section,”  P. Diddy seems far more akin to the arrogant Swiss-bank account holding government swindlers of Nigeria than these young, upcoming but still moneyless Nigerian musicians.Thus, “Government Money” blends the ferocious critiques of oppressive society found in politically conscious rap with a parody of the glossy sexed-up materialistic hits most popular on MTV.

There are a few things to work on, here. The video is busy with graphics and, while featuring other artists who are not actually participating in the music is in keeping with the original “Arab Money” mix, here it is just confusing.  If the song becomes popular enough, it would be great to have a re-mix video. But it is fresh, funny, and this talent is real. The “Unassailable” S. Solar, the “Extraordinary” T-Rex, and the “Revolutionary” Ziriums, as the video titles them, are musicians to keep an eye on.

And to watch again without having to scroll back up:

Here are the lyrics. Thank you to Korex of Intersection who provided me with the complete corrected lyrics of the verses in English and to Ziriums who corrected my Hausa transcription of the chorus before I posted. (Correction to English made 25 November 2009–and with access to the full lyrics some of the analysis may change… stay tuned… lol)

Lyrics:

The Goose, da goose, is loose in the building.

T-Rex,

Ziriums,

Haha

S. Solar

Chorus (Ziriums):

Naira zamu kashe, mun fito

(We are out to splurge on Naira)

Mu mun fito, mu kashe ‘yan kud’i,

(We’re out to splurge a little money.)

Muci kudin Abuja, muci kudin gwamnati

(Let’s spend Abuja money, let’s spend government money)

Repeat once

Supreme Solar

Verse 1: I appear anywhere with the new range rover
Check the Tints so intense, FG plate number
Can’t stop, coming like a rain, lots of digits in my company name hey, money ain’t a thing
So much money that the bank can’t hold
Too many properties that we can’t disclose
What’s your bank’s name, i’ll call the CEO
When my NGO’ll holler back and make the black case close!

Chorus: Ziriums

T-Rex

Verse 2: More than a slice, I’ll take a chunk of the national cake
Get the ration and break.
Before you know that the transaction is fake
i’ll be in another state
Hooking up another bait, Duping NGO’s for Virgin dough
Cop a lotta paper
Breaking contacts and contracts
It’s a strong task. If there’s a window of opportunity

[Crack]
I’ll make the walls crack, give the guns back
And I’m hungrier than ever, get the cheddar, tell rihanna to get that ugly ass umbrella.
I’m loving the weather, and its Government Money.
I’ve gotta vendetta, I’m gonna be robbin them, sonny.
There’s no time for fumbling,
I’m burning and hungry, feel the mic on my belly
You hear it rumbling funny?

Chorus: Ziriums

T-Rex

Verse 3:What’s the access here?
We aint makin bucks in excess
Having stocks and investments
But to me it doesn’t make sense.

S. Solar:
Yeah, like Solar, calls it out of the PH [Port-Harcourt]
3 series Beemer, cruising back to the ‘A’ [Abuja]
Bankin on them papers that we packed in the case
Cause that’s how we get the papers that we stashed with the Feds

T-Rex:
I see them crackin the safe with skills can wait
Musta chills and chase still…
lock up the bills than Gates
S. Solar:
Go through a couple of milli? no we be down with a Billi
Like a billy a billion… nigga for real, no really we get it

T-Rex:
Too bad we get the credit unrated, then set it(….)
All you you relics are heading for debit
And that is your verdict
S. Solar
Bam
Baby pick up the bags and clothes, lets make a final break before the black case close.

Chorus: (Ziriums):

Naira zamu kashe, mun fito

(We are out to splurge on Naira)

Mu mun fito, mu kashe ‘yan kud’i,

(We’re out to splurge a little money.)

Muci kudin Abuja, muci kudin gwamnati

(Let’s spend Abuja money, let’s spend government money)

Repeat once

Ziriums speaks over the chorus: Ziriums, T-Rex, Solar, Korex….Dole mu (….) kudin Abuja, wallahi tallahi, yunwa, talauci,yaudara (?) mutane, Don haka, dole mu ci kudin gwamnati, kudin Abuja, dole mu kwashe…Mu saye gidaje musu, Mu saye motoci, Mu aure mata yan gwamnati. Kawai abin da zamu yi. Habba… Intersection… Ba wani kudin waye waye…Ni kwarai,  (….) Kudin gwamnatu, masu gidan rana ehheh

(I haven’t finished transcribing/translating Zirium’s monologue at the end, so if anyone hears the rest of it, I’d appreciate the help. Thanks!)