Asa’s “Bimpe” & the New Blog Posting Schedule for Gbenga’s Notebook!

It’s been quite a while –over a week actually, that I last made a post on this blog. I’ve been thinking about it and realised it would be a lot better to put proper structure to the frequency of posts here. From now on, every Tuesday and Friday, I will post new content to this blog and provide links to my articles, interviews, and short stories when they are published on other web portals. Occasionally, there may be a third day of posting.

In the coming weeks and months, I will be doing guest posts (on other blogs) and getting published on several platforms, but you can be sure to get the links here. I will also provide exclusive “Behind-the-Scene” tales here –what you will hardly see anywhere else. I have done a number of Interviews on and I think you mind find some of the intricacies involved in putting those interviews together quite interesting. I will be sharing how I met some of the interviewees and why I decided to interview them; how energy-sapping and emotionally challenging some have been and a host of other bonus stuff.

About three weeks ago, I wrote a narrative lyrical analysis of “Bamidele”, a bonus track on Beautiful Imperfections, Asa’s sophomore album. Asa is one of Nigeria’s most respected musicians/guitarists at the moment and she has toured Nigeria, the United States, France and several other countries in Europe. I enjoy her music a lot and the beautiful, often playful, way she presents her satire. She is a social critic who does her thing with a bias for the Yoruba Language. That language is filled with a lot of poetry and idioms that only very few people can interpret exactly. But that’s for another day.

After my analysis of that track (Bamidele), many of the readers on BN pleaded for a similar post for “Bimpe”, another beautiful piece which could have easily been my favourite, if not that it’s not as slow as “Bamidele”. You can read the full narrative lyrical analysis on Asa’s Bimpe on BellaNaija here. Kindly let me know via your comments here, what you think about the new posting schedule on this blog and what you think of my narrative analyses on those two songs from Asa’s sophomore album! -GN!

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Asa’s “Bamidele”: A Narrative Lyrical Analysis

When Bukola Elemide (a.k.a. Asa) released the song, Bamidele, which would become a bonus track on Beautiful Imperfection, her 13-track album, I wonder where in the world I was. I never heard of the song until I stumbled on the MP3 last week and I must have listened to it well over a hundred times by now. Truth is: I love really good songs (and who doesn’t?), but it’s been a while since I fell totally in love (obsessed, even) with a song to this magnitude. In this masterpiece, Asa has proven herself again as a force to be reckoned with in the world of music!

Bamidele is a piano-and-other-strings-driven, jaunty jazz ballad that satirizes a recurrent story of love, lies, betrayal, and family values, from the point of view of an impressionable and naïve young girl; in this case, she could easily be a secondary school girl from the inner city of Ibadan, Oyo State, as Asa deftly infuses the native dialect, mimicking the poor girl. Asa invokes feelings of pain, frustration and regret as she repeats the villain’s name – Akinyele, a native Oyo name. I particularly find the chord progression (7-3-6-2-5-1) at the refrain quite alluring and soul piercing even as she sings on the pentatonic scale. This song, like any other work of art, is subject to a variety of interpretations, so here goes my lyrical analysis:

Bi’nu e ba dun, bi’nu e o ba dun (Whether you are happy, or not)
On’ lati bami dele (You need to follow me home)
Bi o ba fe, bi o ba ko ye (Whether you like it, or you refuse to)
On’ lati bami dele ba’mi (You must follow me to my father’s house)

Akinyele wants to marry wife/ He don’t want to pay some bride price/ You better find it
Akinyele omo Jinadu (Akinyele Jinadu)
He don’t want to pay some bride price/ You better find it
Akinyele o… (x8)

Click here to finish reading!

Photo Credit: Asa (c) Nicolas Esposito