“With my first single, I tore the game up. Industry niggas asking what my name was?”A-Q raps in the opener of the third installment of his ‘God’s Engineering’ series.
His first single was over two decades ago when he announced himself as a newbie who took shots at the who’s who of Nigerian hip hop.
While the quality of ‘God’s Engineering 3’, which A-Q tags “The Beginning,” isn’t surprising, it’s quite impressive that he managed to surpass the quality of the critically acclaimed first and second installments.
Perhaps, the quality is drawn from the mindset of a man who has nothing left to prove. A-Q has gone to war for Nigerian hip hop and his steadfast love for the game. He came out on top.
With legacy safe and impact guaranteed, A-Q takes a victory lap while revisiting his journey. He reflects on the state of hip hop and ponders the state of a country reeling from unhealed injuries of the past.
‘GE3’ is A-Q at his calmest as he traded the outrage that shaped the earlier installments for more calm, victorious flows. Even the album cover, where he switched the suit and tie of ‘God’s Engineering’ and ‘God’s Engineering2‘ for a jacket and hat, suggests that the job is done.
He begins his recollection with a visit to ‘Ramlat Timson Strt’ in Surulere, Lagos state, where it all began. He recalls the struggles of growing up and finding hip hop as an outlet that would eventually save him and his family.
During his two-decade-long career, A-Q has thrived and succeeded in different eras of hip hop while impacting other rappers, including the award-winning Blaqbonez, whom he tapped for ‘Who’s Really Rapping,’ where he speaks on the state of hip hop while asserting his supremacy.
A-Q barely hides his irritation for the pretentious state of the music business, and he shares this on ‘Class vs Clout’ where he restates his message of “it’s all paid for” (a song from ‘GE2’ where he mocked the overly engineered and monetised state of the industry), while choosing gracefulness over attention seeking gimmick.
Between tracks 4 – 7, he delivers a lineup of achieved collaborations that nod to the different aspects of Nigerian hip hop while keeping the tracks grounded in the core rap production that he refuses to compromise on.
On ‘Proud of Life,’ he raps about facing and defeating his demons in return for a good life. Qing Madi’s hook sits well on the heavy boom bap kick while the talented duo Ajebo Hustlers delivers top pidgin rap.
A-Q smoothly combined the titles of classic Nigerian records and the names of the stars behind them to share a word for the young generation whom he advises to priotise realness, be wary of greed, and play the long game. He’s joined by Terry Apala, with whom he goes way back to their days in Surulere, and who understands the struggle and has the particulars to speak on the subject.
He restates this advice in his swaggering back and forth with Yoruba-speaking rapper Kabex on ‘Lost In Translation’. However, this time he scolds, scorns, and mocks those who fake it, the hypocrites, and those who don’t see the big picture, whether individually or as a nation.
Another of his protegees, BKay The East Gad, adds some new school touch to ‘Die By It,’ where A-Q speaks on the harsh reality of life in the streets, where lives are on the line to put food on the table. For A-Q, rap was life, and he was willing to risk it all. He shares his tales of the struggle that preceded the pain while paying homage to rappers who gave it all for the craft.
