Even before it became a thing, Ghanaian dancehall singer and BET honoree Livingstone Satekla (Stonebwoy) has always experimented with that kind of rhythm. In the past decade or so that he has been active, he has registered continental success with rapid records: Pull Up (2012), Bhim Nation (2014), People Dey (2016), but he has done just as impressive with cozy vibes too: Ghetto Love, Baafira, Talk to Me (ft. Kranium), Mightylele, Gbedegbede, Problem…
Enku Lenu, the exquisite love song the singer kicks off 2017 with, is packaged in that air – three verses of sensitive calmness which runs up your skin in gentle caress, rather than exploding in your face, demanding instant foot movement and spirited waist flailing. Produced by Awaga, protégé of his longtime sidekick Beatz Dakay, Enku Lenu (Eyes on You) is, of course, littered with rash promises accompanying new fondness:
My girlie oooo girlie ooo
I want to touch you touch you
Say make I do anything for you
Girl am ready yoo ready yoo oh oh
That first line is noticeable homage to Nigerian comrade Patoranking, who’s Girlie O was groundbreaking in Ghana as much as it was in Nigeria, and indeed across Africa, and whose midas with Ghanaian collaborations is simply unbelievable. No Kissing Baby is the brightest example, but he’s appeared on remixes with Stonebwoy, and Jupitar. What he did for hiplife group VVIP’s Alhaji is brilliant, and his appearance on Shatta Wale’s Romantic was more than creditable. The situation isn’t that different on Bisa KDei’s Life, which is progressively earning a secure spot on Ghanaian radio.
Elsewhere, towards the end of Verse 2, stupid and drunk in love, Stonebwoy declares: “I go dey follow you like curse”. It is a troubling phsse during the chase, but it has to be said: girls love that kind of talk.
It is also based on rich harmony. Stonebwoy renders additional vocals on the record, and there too, he scores maximum points: in how perfectly they’re placed, in the sterling craftsmanship that harnessed this hypnotic quality.
A decently crafted accompanying film (directed by Alexx Adjei), if for nothing at all, aptly captures the pleasures of being held prisoner by love of all things. One scene thus, depicts the singer, after being abducted by a band of entirely female captors in the opening scene, now stripped down to nothing but thongs and see-throughs, “tormenting” him with erotic choreography in a hidden location. Of course he’s smiling –Stonebwoy the captive –Of course he’s smiling!
While production credits on Enku Lenu go to Awaga, the song is also very much Dakay’s handiwork –aside the fact that he mix-mastered the record, he might as well have produced it –the specific use of the snare as drumroll tool, keyboard progression, the invocation of the aura of wind instruments…indeed, the entire cadence –these are all elements of the Dakay Method, and the Dakay Method (particularly with Stonebwoy) has worked every time, and since Stonebwoy has only partnered with a handful of other producers, it is safe to say that the Dakay Method is why Stonebwoy has come this far in the first place. Recent news reports suggest a deterioration in their relationship, and therefore, a possible end to their creative chemistry. Like was in the case of Nigerian giants D’Banj and Don Jazzy, the entire nation is devastated, and dreads an imminent downward spiral for somebody, but Enku Lenu, like the many other gems he has dispatched over the years, is evidence that Stonebwoy is god of melody, and master of masterpieces.
Enku Lenu most likely makes Stonebwoy’s forthcoming tribute album EOM (Epistles of Mama), together with Problem, One Thing, and a host of others.
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