Sean Tizzle’s EP, Moving Forward, is a right play. It’s been sometime since he released his critically acclaimed album, The Journey, as well as any music, that held sway on the charts or in the consciousness of the music industry. So it was a good thing to remind folks that he isn’t a one album (or hit) wonder. And that he did and can still do.
In general, the EP is enjoyable.
In the way one can expect quality rap from MI Abaga is the same way Sean Tizzle has mastered the act of traditional Afro pop music- mostly sung in Yoruba and generally of the Yoruba persuasion. And that summarizes the sound of Thank You (track 1) which is a note of thankfulness to God for the success he has recorded, even dropping a very important offshoot: “…shebi olowo laye mo…” which loosely means society prefers to pay lots of accord to wealthy people, which is especially true of the value system in Nigeria as people are responded to based on their class stratification.
Dide (track 2) which gets an assist from Davido, is befitting of his feature. Because the premise of the song is where Davido has excelled at; singing about a lady and how she makes them feel, how her ‘waist whining’ does things to them and more but all of this corniness is inconsequential because of the dexterity of the accompanying production which is sure to force a dance move or two. The use of the bass guitar, as is the practice with a lot of Naija acts nowadays, was equally brilliant as it gave a huge boost.
Iceberg Slim adds his bit to Roll Up (track 3) and again, it’s about a desire to gain carnal knowledge of a woman but thankfully, the repetitive theme is forgivable because of the delivery and general production.
If one listens intently, one can hear the Bob Marley influence on Telephone Man (track 4) as Sean Tizzle desires to reach his girl and is petitioning the telephone man to connect his call. The singing is more intent and records some pretty impressive inflections; No high pitches but still impressive. This song is multi-purpose enough to be performed at different shade of events.
Arawa ni (track 5) serves up traditional pop, again, and is as delightful as expected, seeing as that is Sean Tizzle’s forte, while Latin Lover(track 6) incorporates a Spanish sound but can/should be skipped- it probably shouldn’t have made the cut. Same applies to Alhaji Abass (track 7) which is as generic as it is forgettable.
At the end of play, Sean Tizzle is convincing enough and the EP is just enough to keep his fans in check, till he returns full time.