Patoranking ‘World Best’ Album Review: Nigerian Dancehall sensation and CEO of Amari Musiq, Patrick Nnaemeka Okorie, has just released his fourth studio album with a controversial title, “World Best.”
With or without reference to any track from the album, the fact remains that the album is a self-validation of Patoranking’s musical excellence.
The title suggests self-appraisal, and here, the artist makes a daring statement by referring to himself as the world’s best. Is he the world’s best in music or the best when Dancehall is the crux of the discussion?
Whatever the case may be, let’s explore further. But before that, let’s analyze how the Patoranking ‘World Best’ album cover art reflects this statement.
Patoranking ‘World Best’ Album Art Cover Analysis
The album’s title is “World Best,” but the cover art says “African Best.” What a contradiction! The album cover depicts the singer standing and lying on the map of Africa rather than the map of the world he claims to have conquered with his musical talent.
Sitting, standing, or lying on a map symbolizes the singer’s dominance in the music scene, but the map represents Africa. The title suggests that Patoranking is conquering the world of music.
So, which is he referring to, the “World Best” as stated in the title or the “African Best” in the cover art? Whatever the case, the answer may lie in the album’s content, which we’ll explore below.
Patoranking ‘World Best’ Tracks Analysis
As an artist with a strong sense of religiosity, Patoranking begins his “World Best” narrative with a song that underscores his dependence on God for musical success. Patoranking entitled the track “Inshallah,” an Arabic expression meaning “if God wills.”
Production-wise, the track is structured around a tresillo hi-hat pattern, with snares landing on the fourth beat every 2 bars, a style common in the musical outputs of artists like Black Sherif, Stormzy, and Blaqbonbez.
The second track, “Higher,” is a typical dancehall track both in sound and content. It blends elements of God and Haile Selassie, worshipfully appreciating God for the singer’s uplift.
No world’s best narrative is complete without acknowledging a woman’s role. The third track, “Gyal Like You,” features Kizz Daniel, while “Woman of the Year” features Zion Foster, celebrating the world’s best woman.
The fifth track, “Smokes and Vibes,” is a high-life tune discouraging the intake of “Igbo,” an Igbo word for “Indian Hemp.” It serves as a didactic message on the dangers of smoking.
However, in the sixth track, “Tonight,” featuring Jamaican reggae and dancehall singer Popcaan, the singer contradicts his stance by celebrating smoking and excessive vibing.
“Abobi” expresses anger, rage, and a desire for retribution against injustice, mirroring the lives of Niger Deltans, who reside in Nigeria’s major oil-producing region.
“Miracle,” featuring Ludacris, recounts the singer’s journey from adversity to success. “Control” is a love song featuring Gyakie, and this love theme continues into the 11th track, “Kolo Kolo,” featuring Diamond Platnumz.
The 12th track, “Na Na Na,” is a lovesick song. Love is not limited to partners alone, as seen in the 13th track, “Mama,” dedicated to the singer’s beloved mother, Katherine.
In the 14th track, “Amazing Grace,” featuring Beenie Man, the singer celebrates his woman, complementing her as he does his mother.
“Lighters Up” concludes the album, narrating the singer’s struggle, success, fame, and affirmation of his world’s best status.
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Patoranking ‘World Best’ Album Features
The album features international stars like American lyricist Ludacris, Jamaica’s Dancehall Icon Beenie Man, and Kingston’s Music hitman Popcaan.
At the continental level, collaborations with African talents such as Kizz Daniel, Diamond Platnumz, Victony, Gyakie, and Zion Foster add diversity to the album.
Criticism of Patoranking ‘World Best’ Album
While the album contains no bad songs, only a few tracks seem to reflect the title, “World’s Best.” It could have included tracks that more explicitly recreate Patoranking’s conquests and victory as a dancehall artist.
Additionally, there appears to be a disconnect between the album’s title and the cover art. The album asserts the singer’s “World’s Best” status, while the cover art affirms his “African Best” status.