It is said that knowledge is infinite and that it has an infinite refill for a creative. And while we are aware that an artist can continue to evolve and grow, and as a result continue to surpass any already present projects, there are some irreplaceable, legendary bodies of work that we believe these respective artists cannot remake.
This is absolutely not because they cannot evolve or make better, but because of the impact these albums have had on pop culture, the music industry, and the artists’ stand in the industry.
These are ten of such albums that we believe cannot be remade.
1. ROOTS BY THE CAVEMEN:
The Cavemen is an Afrocentric-influenced band known for their unique sound and electrifying live performances. The band comprises Kingsley and his brother, Benjamin James. They champion a genre called highlife fusion, a combination of highlife, afrobeat, jazz, and soul, with their songs mostly delivered in their indigenous language, Igbo. They create highlife in a way that retains its essence. The band was officially formed in March 2018. They released their debut single Osondu in 2020, and then Roots, their debut album, in August 2020. They were brought into the limelight by Lady Donli, who had 11 of the songs on her album Enjoy Your Life produced by them.
The album, sung majorly in Igbo and Pidgin English, was written, vocalised, and produced by the duo, and executively produced by Lady Donli. It is completely featureless and was worked on for about two years before its eventual release in 2020. The album art, which was made with green tones, is said to represent “community,” and it was recorded in their living room.
Reviews describe the album as an exploration of highlife in its fullest sense. It explores the beauty and richness of Nigerian and African culture, with love as the album’s central motif. Some would even say Roots is a love letter to highlife.
Right from Osondu, their debut single and the lead single of the album, it was obvious that their goal was to build on the immortal blueprint of highlife music and extend the genre’s impact and relevance in the most authentic way. Seeing as the sound had quite audibly been omitted from contemporary music, the album signified the start of the band’s journey to diversify the Nigerian music landscape and keep grounded the beauty of highlife. As shared by the duo, the album was produced in reverence to their Nigerian heritage and the music that coloured the country during its most turbulent times.
Starting from the opening track, Welcome to the Cave, it feels like their announcement to the industry is being broadcasted and narrated in their words, on their terms, an invitation, per se, into their “cave,” their creative mind. For an album like Roots, whether you understand the language or not, you are undoubtedly drawn in by their sturdy voices over traditional instrumentation, and the use of bass and drums that keep your heart in sync with their rhythm.
With songs like Oge and Bolo Bolo that make you feel light and alive regardless of your understanding of the lyrics, the album establishes them as one of the leading voices of highlife in the country. Then Obiageri, with a narration from their mother, further reinforces the album’s theme of community. Songs like Me You I, further emphasize the motif of love. The cohesiveness of the album will have you hours in, realising it only runs for less than an hour.
The album is truly one of a kind. And although we have since been blessed with two more albums, Love and Highlife and Cavy in the City, we cannot seem to move on from this album and what that era felt like for the Nigerian music scene.
2. MADE IN LAGOS BY WIZKID:
As one of the trendsetters of Afrobeats, Wizkid is undoubtedly an artist with one of the best, most cohesive, and unarguably finest discographies in the Nigerian music scene. In 2011, we were properly introduced to his sound through his debut album, Superstar. It was definitely one for the books. Holla at Your Boy, his massively popular single, solidified his standing as the king of Afropop.
Moving on to his sophomore album, Ayo which was released in 2014, being also a traditional Afrobeats-influenced project. It wasn’t received too kindly. It had many critics pointing at a lack of depth and an unimaginative nature. However, over time, with songs like Ojuelegba, On Top Your Matter, and Joy gaining traction for both the album and Wizkid, it started to sink in.
2017 came with Sounds from the Other Side, his third studio album, and several diverse criticisms. Seeing as it was Wizkid’s attempt at experimenting with new sounds, sounds he very much felt more comfortable dwelling in, the album was received with hostility. Listeners were not used to the shift. Because of the standard he had set with Superstar, Wizkid was expected to continue on that path, to produce more songs like Ojuelegba and Holla at Your Boy.
The album explored sounds like house music, highlife, and Afro R&B, including features from prominent international acts like Drake, Ty Dolla Sign, and Chris Brown. Wizkid had a form that was unclear at first and even repulsive to some, but with his fourth studio album, Made in Lagos, it all began to make sense.
After a three-year gap following Sounds from the Other Side, Wizkid returned in 2020 with Made in Lagos, an R&B-heavy project. Made in Lagos was a more refined and cohesive follow-up to the experimental body of work that was Sounds from the Other Side. This time, he exhibited confidence, maturity, and sophistication.
Because of his somewhat lacklustre sophomore album and the heavily criticised follow-up, Made in Lagos arrived as one of the most highly anticipated albums in contemporary Nigerian music history. With years of teasing, from “Made in Lagos” hashtags appearing as early as February 2018, to multiple hit singles, shows, and merch drops before the album, the anticipation was justified.
With features from artists like Ella Mai, H.E.R., and a long-awaited Burna Boy feature on Ginger, the album delivered on both sound and expectation. The album also birthed Essence with Tems, whose remix featuring Justin Bieber earned the track a Grammy nomination for Best Global Music Performance in 2022. The album’s deluxe edition was also nominated for Best Global Music Album, alongside several nominations at The Headies, African Entertainment Awards USA, and the South African Music Awards.
Made in Lagos received widespread acclaim for its lyrics, cohesive themes, and lush production while also addressing earlier criticisms of Wizkid’s previous works. The album reshaped Afrobeats, catapulting Nigerian music further into the global pop conversation while elevating his hometown. It also solidified his place as one of Nigeria’s biggest R&B crossover acts. It shifted the culture and stretched the limits of what African music could be. This blueprint remains unmatched, six years on.
3. MUSHIN 2 MO’ HITS BY WANDE COAL:
Mushin 2 Mo’Hits, Wande Coal’s debut album, was released in 2009 under Mo’ Hits Records. It was completely produced by Don Jazzy and featured prominent acts like D’banj, Dr SID, D’Prince, K-Switch, and rapper Ikechukwu.
The album was a transformative body of work that undoubtedly redefined Nigerian pop music. With Wande Coal’s syrupy flow, angelic voice, and Don Jazzy’s incredible production, it stands as one of the defining vocal pop albums of its generation. The album received widely positive critical reception, with listeners praising Wande Coal’s well-crafted form, the production, and his vocal range. They created something truly special.
Wande Coal was first introduced to Mo’ Hits Records in 2006 while performing at a show just before D’banj and Don Jazzy. His talent, being impossible to ignore, drew the label heads to him. He was signed shortly after and released his debut album three years later. The lead single, Bumper 2 Bumper, was a force, earning Wande Coal and Don Jazzy several award nominations.
The album is practically a masterclass in storytelling and songwriting. On songs like Bumper 2 Bumper and Jehovah, he reflects on his journey, his grass-to-grace story, as the album title itself suggests: Mushin 2 Mo’Hits. On Jehovah, he recounts the life-changing opportunity he received after meeting D’banj and Don Jazzy.
With lyrics like, “Jehovah thank you Lord for bringing D’banj and Don Jazzy to the place wey I dey,” he gives listeners a front-row seat to his world while expressing deep gratitude to those who helped shape his journey. Tracks like Banana and Ololufe show a softer side, feeding the hearts of lovers, with Ololufe beautifully blending Yoruba and English in his serenade.
It is undoubtedly one of the most impactful Afropop albums to come out of Nigeria to date, and it has often been regarded as one of the most influential Nigerian debut albums of all time.
4. BOY ALONE BY OMAH LAY:
With the release of his sophomore album, Clarity of Mind, three years after his debut, we are drawn back to Boy Alone, seeing it as a kind of nostalgia for that phase and placing it as an album that cannot be remade.
We were first introduced to Omah Lay’s unique sound in 2019 with his debut singles, Do Not Disturb and Hello Brother. The singles signalled a promising and enticing career. It was definitely a “watch out for me” kind of debut.
In 2020, we were drawn in again with another single from the Port Harcourt artist, Bad Influence. This, as we would later see, led into Get Layd, his debut EP. On Get Layd, we were pulled into his world, as he emerged on the scene with a distinct brand of Afrofusion. With songs like You and Damn, it was obvious we were in for a ride. Later that year, Omah Lay released his second EP, What Have We Done, gliding over highlife and Afrobeats sounds with his sultry, addictive voice. At this point, it was clear. An album was needed from this innovative artist.
Sure enough, two years later, we got the critically acclaimed Boy Alone, one of the most defining debut Afrobeats albums. The 14-track run had only two features: Tay Iwar and Justin Bieber. This gave his sound space to breathe. Rather than drowning in features, the album felt like a deep dive into his world of creativity.
Considering that the recording of the album began in 2021, a time Omah Lay describes as difficult, it makes sense that the project carries a central theme: the inner mumblings of a chaotic, dreary mind. Songs like I’m a Mess, Understand, and Soso reflect these themes, with Soso being a particularly important piece, as Omah Lay revealed the story felt incomplete without it.
Starting strong with Recognize, where he sings, “Only the real fit to recognize,” while highlighting his roots, “all the way from Port Harcourt waterside”, we are set on a solid, intense, and intimate thirty-seven-minute journey.
Many reviews described the album as a push toward a sound that transcends the global reach of Afrobeats, a cohesive tale of young existence and an incredibly commendable debut. Because of its honest and relatable songwriting, the album carries an undeniable replay value.
Moving into 2023 with Boy Alone (Deluxe), a continuation of the story, we see Omah Lay in a better place. With songs like Reason and Come Closer, it feels like a subtle attempt to not only heal himself but extend that healing to others. The deluxe notably gave his debut even more acclaim.
5. LAUGHTER, TEARS & GOOSEBUMPS BY FIREBOY DML:
2019 brought a wave of defining, introspective, and refreshing acts to the Nigerian music scene. Artists like Joeboy, Rema, and Fireboy DML emerged as the Gen Z voices that ruled the scene that year. We had Joeboy with Baby and his EP, Love & Light. Rema introduced his peculiar sound with Rema, the EP. You really just had to be there.
Laughter, Tears & Goosebumps, Fireboy DML’s debut album, was also a product of this innovative era. When Jealous, the lead single, was released in 2018 on YBNL Nation’s joint album, YBNL Mafia Family, and then reissued in March 2019, it was all anybody could sing. Subsequently, with the release of other singles like What If I Say and King, it became obvious that whatever body of work they would eventually belong to would arrive with impact. And it did. It was unforgettable.
The album was released by YBNL Nation in November 2019, and it had zero guest features. We were fully immersed in his world, and he was the only voice we had to absorb. The project, largely R&B-driven, though categorized as “Afro-life” by Fireboy himself, beautifully combines themes of love and social realities with experimental storytelling. It firmly cemented his place as one of Afrobeats’ best storytellers, lyricists, and songwriters.
The album opens with Need You, one of the standout love songs of the past decade. That theme carries through tracks like Like I Do and What If I Say. At the same time, it balances this softness with vibrant, feel-good records like Omo Ologo, Energy, Vibration, and Gbas Gbos. The album received widespread positive reviews, often described as formidable and an anthem for the season of love. It was recognized as a sweet spot between partying and romance.
It is, without a doubt, a timeless album.
6. WORK OF ART BY ASAKE:
“Me I no dey cap, me I no dey form, my energy is high.”
In a depressing era like the 2020 pandemic, Mr. Money was definitely a vibe. It caught Nigerians off guard when it felt like Asake disappeared. Of course, he was still releasing music, but it wasn’t the same Mr. Money we clamoured for, so the hype gradually died down over time.
2022 came with a force for Asake, and it became his playground. He returned with Omo Ope, featuring Olamide, reigniting public interest. This time, he intended to hold that attention and not let go. Soon after, he was signed to YBNL Nation, and the next month saw the release of Ololade Asake, his semi-eponymous debut EP, a four-track run of hits. From Trabaye to Baba God, Asake clearly had a story to tell, and he was only just beginning.
Later that year, he released his debut album, Mr. Money with the Vibe, with only Burna Boy and Russ as guest acts. By then, it was obvious Asake wasn’t going anywhere. He had fully embedded his sound into the music scene. He was here to stay.
On the album, elements of traditional Nigerian Fuji music were fused with Afropop and South African Amapiano, creating an almost spiritual sonic landscape that set him apart from his counterparts. He was, unarguably, the hottest breakout star in the country that year. While Mr. Money with the Vibe gave him a formula that propelled his rise, his sophomore album, Work of Art, solidified his place in Afrobeats. It presented him as a blend of ancestral rhythm and modern pop innovation.
The album deepened his signature sound, combining West African folk elements like Fuji and highlife with contemporary influences such as Afrobeats, Amapiano, and hip-hop. It also prominently reintroduced rhythmic log drum patterns, adding texture and identity to the project.
Work of Art, although not entirely distant from Mr. Money with the Vibe, stands out for its seamless fusion of sounds and its incredibly cohesive track run. Three years later, the album still proves difficult to take off rotation. Songs like Mogbe and Remember continue to resurface and trend.
Even with a third studio album and a joint EP with Wizkid out, fans remain deeply attached to Work of Art.
7. AṢA BY AṢA:
There are debut albums, and then there is Aṣa by Asa.
Aṣa (pronounced Asha) is the self-titled debut studio album by Aṣa, a French-Nigerian singer. It was released in 2007 via the independent record label Naïve Records. Its lead singles, Fire on the Mountain and Jailer, set the tone for the album, which explores themes of personal strength, sensitivity, wisdom, rebellion, heartbreak, and love.
The album opens with Jailer, a song rooted in self-determination and political awareness. The repeated line, “Mr. Jailer, stop calling me a prisoner,” hints at a protest song addressing oppression in a metaphorical sense. On 360, she advises listeners to stop circling for answers they can find within themselves. Bibanke follows as a romantic piece layered with sadness, heartbreak, and a quiet yearning for a past lover.
Subway alludes to lessons of love passed down from her mother, echoing the sentiment that “love don’t last.” On Fire on the Mountain, she leans into politically charged lyricism, addressing societal issues such as pedophilia and rape culture.
“There is fire on the mountain, and nobody seems to be on the run.”
Eye Adaba and Awe are two of the songs sung entirely in Yoruba, the former a ballad, the latter a tale of a man caught in a scandalous relationship. On No One Knows and Peace, Aṣa offers gentle encouragement to savour the present and persevere through difficult times. So Beautiful, a tender love song dedicated to her mother, closes the album.
The album was widely acclaimed, often described as a masterpiece. It appeared on Pulse Nigeria’s list of the “Top 10 Nigerian Debut Albums of the Past 20 Years,” further cementing its legacy as one of the most defining and influential albums of its time.
Recorded in both English and Yoruba, the album blends indie pop, soul, jazz, reggae, folk, and R&B. Aṣa’s emotive voice draws listeners in through her thoughtful songwriting. Her airy, folk-infused sound feels like a warm blanket, one that comforts, holds, and lingers.
Although she never misses an opportunity to address social issues through her music, her songs remain grounded in hope and quiet positivity.
Today, artists like Ṣẹwà and Lodù carry forward that refreshing blend of folk and airy soul, with music deeply rooted in the beauty of indigenous expression.
8. EYAN MAYWEATHER BY OLAMIDE:
“When dey say anybody wan talk about the best rapper or whatever, go shut down Eko Hotel first. Shut down London. Shut down Yankee. Shut down Malay. Shut down everywhere before you come to me and say you’re the best rapper.”
Yes, that was the heat and we felt it right from the first track, Eyan Mayweather.
Eyan Mayweather is the fifth studio album by Olamide, released on the 23rd of November 2015. It marked his fifth album in five consecutive years, an almost absurd level of consistency. The album was led by four scene-breaking singles: Bobo, Matters Arising, Lagos Boys, and Melo Melo.
The album’s language is largely Yoruba and Pidgin English, staying true to Olamide’s identity. It was produced by Pheelz, Young John, B Banks, and I.D Cabasa. The project offers a diverse sonic experience, pop-leaning sounds on Boom Boom, eclectic and assertive rapping on Inferiority Complex and Eyan Mayweather, and softer moments on love ballads like Melo Melo and Mama Mi, an appreciation of his mother sung in Yoruba. On Say Something, he even raps in Yoruba, Hausa, and Igbo, creating a cross-ethnic connection.
Reception to the album was mixed. While some listeners felt it was repetitive and reflective of his “usual” style, it was evident that the project showcased his versatility. It blended pop, highlife, and street anthems with undeniable energy and charisma. One of the standout decisions on the album was Olamide’s bold choice to go completely solo, no features, no label mates, just Baddo across 21 tracks. He later explained that this was intentional, a way to prove he could command the stage alone.
The album draws direct inspiration from Floyd Mayweather, the undefeated boxing legend, and even styles its title and persona around that dominance. The album art, inspired by imagery associated with street identity, reinforces his presence at the heart of the culture he represents.
Eyan Mayweather helped redefine what an indigenous rap album could sound like on a broader stage, bold, rooted, and unapologetically local, yet far-reaching in impact.
9. AFRICAN GIANT BY BURNA BOY:
African Giant is the fourth studio album by Burna Boy, released in 2019. It is a fusion of Afrobeats, dancehall, pop, and hip-hop. The album features a diverse range of guest acts, including Jorja Smith, Jeremih, Damian Marley, Zlatan, YG, and Future.
Eight singles led into the album’s release, including On the Low, Killin Dem, and Anybody, which Burna Boy performed on Jimmy Kimmel Live!. Its title stems from a moment surrounding Coachella’s 2019 lineup reveal. Burna Boy was displeased with the size of his name on the poster and took to Instagram to call it out, referring to himself as an “African Giant” while addressing what he perceived as subtle disrespect. Seven months later, that phrase became the title of his album.
The project received widespread acclaim and earned several awards. Critics described it as cohesive, praising Burna Boy for maintaining his sound while expanding its reach. The album is performed in Yoruba, Nigerian Pidgin, and English, and its production carries a consistent sonic direction, contributing to its overall cohesion. It is a melodic, percussion-heavy body of work that feels slower and more layered than his usual club-oriented releases.
The themes of the album revolve around African identity, socio-political awareness, Nigeria’s political climate, and systemic violence. Critics described it as musically diverse and narratively ambitious. It feels intentional, almost like a call to consciousness, positioning Burna Boy as not just an artist, but a voice for a continent.
At the time, some even considered it his best work yet.
10. MI 2: THE MOVIE BY M.I ABAGA:
From his debut album, Talk About It, to his groundbreaking mixtape, Illegal Music, M.I Abaga took the Nigerian rap scene by storm and never looked back.
MI 2: The Movie is the critically acclaimed second studio album by M.I Abaga, released in 2010 under Chocolate City. The album draws inspiration from the Mission: Impossible film series. Notable guest acts on the album include 2face Idibia, Bola Adebisi, Brymo, Flavour, Ice Prince, Jesse Jagz, Julius Ceaser, Femi Odukoya, Loose Kaynon, Praiz, Ruby Gyang, Timaya and Waje.
Right from the Prelude, the storytelling captivates the listener, presenting the album cohesively like an actual movie. It spans a wide range of topics, including corruption, poverty, education, the Niger Delta crisis, violence, looting, and the sexual objectification of women.
The album won Best Album of the Year at the Nigeria Entertainment Awards and Best Rap Album at The Headies in 2011, while also receiving a nomination for Album of the Year.
Primarily a hip-hop project, the album also incorporates elements of highlife and R&B, with standout tracks like Action Film featuring Brymo and One Naira featuring Waje. The album extended beyond music, including both an original soundtrack and a film component. Its lead single, Undisputed, was released with an accompanying music video, alongside an animated video for Prelude and Action Film.
Prelude, serving as a comical introduction, fits perfectly into the movie theme, with M.I playfully portraying a hero saving a damsel in distress, identified as Waje. Throughout the album, despite the number of features, it is unmistakably clear whose project it is as M.I shines on every track.
MI 2: The Movie received positive reviews from critics, often praised for its strong attitude and cohesive vision from start to finish. The collaborations reflect his willingness to expand his sound, while the album itself strikes a balance between hardcore and commercial rap.
Some fans regard it as one of the greatest Nigerian hip-hop albums ever released, while others felt it leaned too commercial. But one thing is certain, the album is one for the records.
The night MI 2: The Movie dropped remains one of the most memorable moments in Nigerian hip-hop. And over a decade later, it still stands as one of the most important bodies of work in Nigerian music and Afrobeats.
Reliving these albums felt like reliving experiences, reminiscing moments and being mentally transported back to those eras. These albums cannot be remade because they were not just albums; they were moments that shifted something permanently in Afrobeats, the music scene, and in us.
And while artists will continue to evolve, no remake could ever capture what these originals did. They belong to a time, a feeling, and a space in history that exists only once.
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