“Make I off my switch, see who go give you BAR 4,5,6……” and now we got BAR 7!
Safe to say there was nothing and nobody stopping an ELIEN from keeping the rap lights on.
One man, two letters, E.L, three letters B.A.R. - 4,5,6,7………….in 10 years. This is it!
With easily the most consistent rap series in the whole Africa, the Ghanaian wordsmith has changed the rap economy even with an economics degree he hasn’t touched in years.
One fact about E.L is that he always delivers slick bars and a crazy rhyme scheme. Known as one of the greatest rappers in the annals of Ghanaian rap, Elorm has truly proven his worth through his BAR (Best African Rapper) mixtape series. Over the past ten years, E.L has released seven solid rap mixtapes under the BAR title. This year saw the seventh installment of this body of work, and it has fully satisfied listeners after a three-year hiatus from the series.
Having been deeply involved in the production of this album, E.L deserves full credit as a consummate artist. E.L continues to raise the bar and is a perfect fit for the B.A.R (Best African Rapper) title, with BAR7 standing as a testament to his prowess. The album's intro features a voice-over by a male, who delivers an insightful breakdown of the significance of the number 7: Perfection, Special, Rare Gem.
In "BAR 7 (INTRO)", the rapper immediately drops jaws with his daring lyrics, boldly declaring that he’s been to hell to tell the devil he’s taking over Armageddon—an audacious reminder of his tenacity in the rap game. If you’re a rap enthusiast, this intro alone should have piqued your interest in the rest of the album. E.L makes it unmistakably clear: he’s the best.
The line “see me for gbeke tee but I be dawn” is a multi-layered entendre. In the Ga dialect, "gbeke" means nighttime, and "dawn" refers to the period just before daybreak. E.L cleverly suggests that he’s merely a shadow of his truer self to come, implying that, despite appearances, he is ahead of his time—a Don. This assertion is emphasized through the homophone of "dawn." While these claims resonate throughout the track, E.L also makes one thing crystal clear: no rapper is on his level, a distinction he confidently claims and has backed in all 7 BAR albums. This intro is perfect, capturing all the power and authority that comes with being the Best African Rapper.
In "Chakido" jointly produced by Weeley and PureAndyy, E to the L mostly adopted the use of three syllables and then to two syllables in this joint, a style which was quite repetitive. The choice of words for the rhyme scheme while applying the syllable style was quite basic, but enough to bop heads to the beat. The chorus was quite good, simple yet catchy - relying heavily on the baseline and the three syllables of the title; CHA KI DO!
One notable aspect of 90s old-school hip-hop beats is the anticipation of top-tier lyricism paired with a tight flow. On the track "HIPHOP", E.L’s rap came across as a bit too laid-back. While there are no strict rules for how certain beats should be approached, and it's admirable that E.L wanted to try something different, the result didn’t fully capture the potential of the sound. Unfortunately, this track fell short of expectations, as the raps were simpler than usual, lacked weight, and the flow was more relaxed than what we know E.L is capable of. The entire record simply didn’t meet our expectation, and is quite below the bar as compared to what we know the rapper can do. But then again, maybe we expected and anticipated a lot from just the title, and the fact that Altra Nova produced the song.
That said, redemption is always within reach.
NOW BOOGIEMAN IS THE RAP JOINT! Lyrical Joe was the perfect choice for this track—a match made in hip-hop heaven. This song earns a perfect 10, with every line packed with slick bars, crazy punches, and a flow that's off the charts. This track is sure to be a benchmark for hip-hop comparisons in Ghana. The song kicks off with a popular sample that has been used multiple times by different rappers. Since the 4th installment of the B.A.R series, E.L and Lyrical Joe have proven to be an unstoppable duo.
When it comes to impressive wordplay and mind-blowing bars, Lyrical Joe is no stranger to the craft and every appearance of his on the series is a testament to this fact. He’s been on a tremendous rap streak for years, making him a serious contender in the rap game. The title “Boogieman” is fitting, as both rappers aim to dominate the scene.
“Clockwise if you see how we be hanging and moving,
You should’ve mentioned I’m top 5 but I’m somewhere in the 7th heaven that’s why I’m serving,
Top 10, I am 1 they are 0, you know that’s the only 10 I’m taking
Got your top 10 in the middle of Osama numbers, I’m talking 9/11
They be hating on me 'cause I don’t rap in local dialect, see, I let it be
‘Cause that shit ain’t taking my oxygen I feel at home when I breathe that’s my Airbnb.”
Lyrical Joe’s creativity illuminates in every line, with each verse connecting back to the first in multiple ways. Let’s break it down:
- Clockwise movement symbolizes moving forward, never backward.
- He claims a spot in the top 5 rappers list, acknowledging that only a few peers are at his level. But he’s in the 7th heaven—a term from religious belief (mainly Christianity and Judaism) referring to the highest celestial realm where the top-ranking beings serve at God’s throne. This is a clever way of telling listeners that, while he might mingle with other rappers, he’s at the highest level, serving with unmatched skill, or "7," which represents perfection. This could as well be a play on the title, BAR 7.
- In the next verse, he asserts his dominance by saying he’s number 1, while other rappers are 0. This doesn’t mean he’s content with merely being in the top 10. Instead, he ties the “that’s the only 10 I’m taking” line to “got your top 10 in the middle of Osama numbers, I’m talking 9/11,” crafting a crazy entendre. Historically, Osama bin Laden was behind the 9/11 attacks, and the number 10 lies between 9 and 11. So, when Lyrical Joe says, “that’s the only 10 I’m taking,” he means that if you place him in a top 10 list, he would completely outshine everyone else—a destruction he’d proudly own, just as Osama claimed responsibility for 9/11. In essence, Lyrical Joe is obliterating his “enemies.”
- Finally, he shrugs off the criticism for not rapping in the local dialect, viewing the hate as a propeller. He’s comfortable with the hate—it’s his Airbnb, a place where he feels at home, pointing out the futility of such negativity.
Delilah is a soft sample on Fugees’ ready or not. Featuring the young sensation AratheJay, the song talks about deception, the chorus plays on the name Delilah, a biblical character who is an impresa for cunningness and deceit.
We think IDGAF, cooked by Kofi Cooks, is a perfect title for this introspective piece. Credit to Kobi Onyame and Tradey for their respective verses that added some weight to the joint. The rappers permeated the 6-minute song with deep thoughts about how people’s perception of them wasn’t a bother hence the title IDGAF. In a smooth response to these opinions, each artist did their due piece, mostly drawing from the wells of their experiences with life, the song is introspective because the lyrics were infused with the realities as opposed to societal expectations which may or may have not contributed to what they had witnessed. The beautiful thing about this tune is the fact that the rappers gave each other their flowers and their necessary compliments and this further added some meaning to the song because as the theme of the song was concerned, the compliments came off as encouragements to not falter and still keep on keeping on.
We feel on the Kreptismenace-produced BAR RADIO SKIT, E.L was trying to use references to bulwark his perception of himself. Almost all attributes he linked to himself were different skill sets he saw himself possess.
Like Barack Obama with the Tactics, Curry with baskets, Schwarzenegger with the action etc. Just a guy looking in the mirror trying to paint a portrait for us - think Picasso finally has some competition.
Lomi for the longest time has been one groovy rapper, one to have cute raps but with an impeccable flow. One thing that stood out in the self- produced song ‘One Ghana Guy’, was the humming melody of which Samini’s addition did quite an okay job.
Don Jaga employed a call-and-response style on "Tracy," a song that delves into the wreckage of a marriage shaken by infidelity. E.L played both parts of the duet himself, adding a unique creative touch to the project. He skillfully guided us through a narrative about a husband and wife in a heated dialogue, where opinions clashed, emotions ran high, and closure remained elusive.
On “One of Us,” E.L and his homeboys, Nana Grenade and KevTheTopic, simply reiterate their status of belonging to an exclusive club of ELiens. Dapping and opening with Ga, Nana Grenade serenades on John Doe’s production with a chilling hook that amplifies the distinguishing traits between them and other rappers. His compatriot KevTheTopic does justice to the topic in a relaxed tone before the Don himself takes over the mantle and raps “hater no dey wan book me, but I read them.” a straight shot at how outsiders who don’t want to see him succeed and how (event organisers, promoters) do not book him for shows.
We consider the The Boy Valid’s production, "Pray," the best song on the album. It’s a deep, introspective track that explores questions about the myths of religion and eternity—topics many seek clarity on. When we say Lomi will capture the hearts of listeners by addressing these profound questions, it's spot on. Jean Feier’s vocals add a tremendous layer, evoking the friction often associated with divinity. The verses where the rapper touches on identity crisis are also significant, reflecting a theme that has been resonating in Ghanaian music recently. The number 7 plays a pivotal role throughout this album, with E.L rapping about the satisfaction and peace of mind he found during its creation. He describes the hiatus as a period of reawakening—a phase where he rediscovered his strength, ultimately bringing him peace of mind.
Facts/Cap" carries a similar vibe to E-40’s "Choices," particularly in its use of distinct ad-libs after every verse. In this track, E.L shares his insights on what he considers facts and what he sees as cap, expressing his views on rap music and offering candid thoughts on his fellow rap peers.
E.L’s vocals soared throughout "God on the Sidewalk," a song whose chorus captures the exhausting uncertainties of life and the yearning for a deus ex machina to bring a glimmer of hope in an increasingly bleak world. In this track, Elorm engages in a dialogue with the supernatural, reflecting on brokenness. The song bears a subtle connection to the rapper's earlier track "JOY," a tune that offers comfort to a wounded soul. The production on this record is impeccable and Kojo Steve deserves credit for an amazing work done.
One notable thing missing is a state of the nation address. A recurring theme and trope in the previous BAR albums.
E.L truly delves into the spiritual realm with this piece, as it carries an aura of inspiration, raining down positivity with the notion of God on the sidewalk, ready to turn things in your favor—a perfect resolution, much like the significance of the number 7.
Overall, E.L truly captures the essence of the title, and with little to prove, the project returning after a long recess, feels like a reminder of who the real BAR is.
Not many rappers on the continent can boast of a rich and diverse discography such as his. Would not be surprised to see that BAR 7, a perfect score, closes the chapter on the BAR series, however, ELiens never stop invading, do they?
We would rate BAR 7 a solid 7/10.
‘The king without a crown’ just adjusted his crown on the throne.
WRITTEN BY KWAW BLAY APPREY & MANDELA YAW ANUVABE
