The stirring anthem tells the story of our rich heritage, patriotism, hard work, and service. Mere listening to the lyrics, you’ll conclude that The Full Oyo State Anthem is appropriate and indeed, we are the Pacesetter. You can also see the video on YouTube.
Oyo State Anthem Video
Oyo State Anthem Lyrics
Asíwájú ni wá Asíwájú ni wá Asíwájú ni wá Asíwájú ni wá
Ipò Asíwájú Le’lédùmarè fún wa Ní ìpinlẹ̀ Ọ̀yọ
ìpinlẹ̀ Ọ̀yọ Ẹjẹ́ ká ṣe gírí Ọmọ Ọ̀yọ Ká tẹ ipá wa mọ́ iṣẹ́
Ká bá’ra wa sọ̀rọ̀ Ká ṣ’òdodo Ká ṣ’oun tó tọ́, tó dára Ní’gbà gbogbo Ní’bi gbogbo Fún ’pinlẹ Ọ̀yọ
Kò ní rẹ̀yìn o Lójú mi Kò ní rẹ̀yìn o
Kò ní rẹ̀yìn o Nígbà tèmi Kò ní rẹ̀yìn o
Èmi á ṣ’oun tó tọ́ tó dára Ní’gbà gbogbo Ní’bi gbogbo Fún ’pinlẹ Ọ̀yọ
Asíwájú ni wá Asíwájú ni wá Asíwájú ni wá
Asíwájú ni wá
History of Oyo State
Oyo State was formed from the old Western State on February 3, 1976, during General Murtala Mohammed’s administration.
Situated in the southwestern region of Nigeria, Oyo State spans 28,454 square kilometres. It shares borders with Ogun State to the south, Kwara State to the north, the Republic of Benin to the west, and Osun State to the east.
The state is predominantly Yoruba, with the Ogbomoso, Oyo, Ibadan, and Ibarapa communities forming the major ethnic groups, all speaking the Yoruba language. The state’s urban areas, especially the capital city of Ibadan, attract people from various parts of Nigeria and beyond. Ibadan is renowned as the largest city in Africa.
Ibadan, the capital of Oyo State is home to notable landmarks, including Cocoa House, Africa’s first skyscraper. It also hosts NTA Ibadan, Africa’s first television station, and Liberty Stadium, the continent’s first stadium. Other significant tourist sites include Agodi Botanical Garden, Ado-Awaye Suspended Lake, Mapo Hall, University of Ibadan Zoological Garden, Ido Cenotaph, Trans-Wonderland Amusement Park, Oke-Ogun National Park, Bowers Tower, and the Cultural Centre in Mokola.
The state also has a rich agricultural presence, with cattle ranches in Saki, Fasola, and Ibadan, as well as a dairy farm in Monatan, Ibadan. The Oyo State Agricultural Development Programme, headquartered in Saki, operates across the state, alongside several international and federal agricultural institutions.
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Princess Bunmi Olajubu, a former regent of Ikogosi Ekiti sang this evergreen song, Ẹ̀kọ́ dára púpọ̀ in 1987.
LYRICS OF EKO DARA PUPO
Ẹ̀kọ́ dára púpọ̀
Ẹ̀kọ́ ló l’ayé ta wà yí sẹ́
Ẹ̀kọ́ dára púpọ̀
Ẹ̀kọ́ ló l’ayé ta wà yí sẹ́
Ẹ̀kọ́ ló ń gbé’ni d’ẹni gíga
Ẹ̀kọ́ ló ń gbé’ni dé’pò ọlà
Ẹ dákun yé ẹ̀yin òbí wa
Tí ẹ bá l’ówó kẹ jọ̀ọ́ kẹ tọ́ wa
Ọmọ tí kò l’ẹ́kọ̀ọ́
Ó dá mi lójú pé yóò j’ìyà
Ọmọ tí kò l’ẹ́kọ̀ọ́
Ó dá mi lójú pé yóò j’ìyà
Iṣẹ́ burúkú ni wọ́n ń ṣe
Tí wọ́n bá ja’lè, wọ́n á tún f’ọ́lé
Ẹ dákun yé ẹ̀yin òbí wa
Tí ẹ bá l’ówó kẹ jọ̀ọ́ kẹ tọ́ wa
Bàtà mi á dún ko-ko-kà
Bàtà rẹ á dún ko-ko-kà
Bàtà wa á dún ko-ko-kà
Bí mo bá kà’wé mi
Bàtà mi á dún ko-ko-kà
Bàtà mi á wọ́ ṣẹrẹrẹ ní’lẹ̀ o
Bàtà rẹ á wọ́ ṣẹrẹrẹ ní’lẹ̀ o
Bàtà wa á wọ́ ṣẹrẹrẹ ní’lẹ̀ o
Tóò bá kà’wé rẹ
Bàtà rẹ á wọ́ ṣẹrẹrẹ ní’lẹ̀
Bísí kàwé rẹ – Bàtà rẹ á dún ko-ko-kà
Bóò bá kàwé rẹ – Bàtà rẹ á wọ́ ṣẹrẹrẹ ní’lẹ̀ o
Segun kàwé rẹ – Bàtà rẹ á dún ko-ko-kà
Bóò bá kàwé rẹ – Bàtà rẹ á wọ́ ṣẹrẹrẹ ní’lẹ̀ o
Pop culture has grown from being a confined and small build up into a global interest. Nigerian pop culture in the past years has failed to create strong attentiveness to the underground sound which is, the street pop. The street pop has metamorphosed from a local household name into a commercial output within a short while. It will be difficult to attach a firm background to its development but it is clear that the street culture has been a part and existence of the suburb parts of the Lagos Mainland. It is from this way of life that has made listeners witness important pop stars rise like Small Doctor, Slim Case, Mr Real, Zlatan and many more.
Olamide is arguably a major artiste who imbibes this culture in his craft. He is also the most commercial artist from this style of pop creation. This simple living is borne out of street hustlers whose way of life is just to make it out of the streets of Lagos. This creative process has extended to other parts of the country which has further transcended into an everyday trend.
Artists from this path who have found their way into limelight continue to hold on to it and this has further propelled them into greater heights with headlining major shows in and outside the country. The negative impression that has been portrayed by these music creators is a major controversy. Their music is indeed filled with great love and passion for the craft or if it is to pay the bills they all dreamt of because little to nothing can be said about the body of work (music projects) they make or propose to make.
Lovers of this culture put more interest in the short term interest enjoyed from these artistes’ dexterity and most of their thought has been limited and not to improve the art into a global phenomenon. The popular saying of ‘anything wey go make man blow’ has been a direct pathway to every street hustler’s success.
One distinguishing element of the street culture is how much it is adorned. The stylish dress and thug life composure has been a stir of controversy from the older generation.
Some conclude with these simple words ‘Nothing good comes out of these ones’, but there has been a myopic view into the promising side of these individuals. These youngsters may show their immerse love for success and fame but must stay true and real to their belief. Apart from the street spirit developed in them, they understand the true essence of keeping the family close. The family is not only limited to the blood relations alone but to true brotherhood that has discovered extraordinary things in them. Class discrimination is the least topic that pops out from this culture and they try to stay ‘lit every day to live another day’.
Few things can be said on how budding the street music has added socio-political values. Street crooners like Small Doctor have been used as guest performance in political campaigns. Their lyrical substance is found relatable and some have been acknowledged with titles like ‘King of the Street’ and have become role models to inspiring youths.
It is so ironical in the past few months that saying the slang and grooving to Shaku Shaku and leg work has been a requirement for youth to show how cool they are even for other youth in other pop class.
The recognition of the street hop category at the Headies award has led in interesting discussion on recognising street hop as a genre. There has been no unanimous rule on the music genre requirement particularly for African music. Overtime, artistes in this category are casually referred to as afro pop stars.
The major setback faced is the inconsistency of the artistes and how quickly and easily the created trend becomes something of no interest in the years that follow. The artists and their works become ‘fast food’ and within a short while, thrown out into garbage. This is a major criticism in this pop style and there have been speculations on how long the craft can hold on and not lose its grip.
So many might not agree to this but it will be of great importance that the street culture should continue maintaining its underground status and this will be related to a plant. The leaves, flowers and stem symbolises the commercial pop structure while the root represents the street culture. The root is a part that makes the plant stand and allows the flowers and leaves look good to the outside world. When the root becomes infertile, the other parts die. When street culture dies; the commercial pop music declines. When the leaves and flowers are cut off, another one grows back if the fertile root still exists. The Alingo, and Alanta are products of street culture that has made Nigerian afro pop enjoy decades of making history and so much can be said about the street culture in crafting African’s music industry. The commercial interest of these dance steps have declined but street hop still lives on.
Photography by: Stephen Tayo, Medium, Adioh Makinde, Straatosphere
About Me
Ogunleye Oluwakorede writes mainly on entertainment, history and socio-economic matters. He has previously released works like album reviews and content information. He is also a music critic and analyst particularly on Nigerian music entertainment.
Contact Me
Instagram: omo_baba_ogunleye
Twitter: alteleye
The BEST way to support us is by providing funding to enable us continue this good work:
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Euro Account: 0802091827
Sikiru Adepoju is a percussionist and recording artist from Nigeria, primarily in the genres of traditional African music and world music. He plays a variety of instruments and styles.
A master of the talking drum, Adepoju comes from a musical family from Eruwa in western Nigeria.
Born November 10, 1950(age 69), He and his brothers Saminu and Lasisi were taught drumming very early by their father, Chief Ayanleke Adepoju.
His great-great-grandfather down to his father all carried the name, ‘Ayan’ which is a Yoruba identifier for drummers by trade and heritage. He said, “I was born into a family of drummers. I am not an ‘Ayantojubo’ (a drummer by accident), I am Ayandoke (an original drummer).”
To him, it is heritage and providence, “When you’re born into a family of drummers, you don’t really need to learn it. It’s assumed that it’s a part of you. Anywhere the drum sounds, you can pick it up. I can’t remember my dad teaching me how to drum.”
Through the family’s history, their drum of choice is the ‘Talking drum.’ Yoruba people call it, ‘gangan.’ However, Adepoju corrected the use of ‘gangan’ as the Yorùbá word for talking drum. He says, “Older people used to play gangan because it’s longer than the normal talking drum. All gangan are talking drums, but not all talking drums are gangan. The smaller drum is called, kanango.”
Burna Boy is not the first or even the second Nigerian to be nominated in that category. Over the years, Sikiru Adepoju, Femi Kuti, Seun Kuti, King Sunny Ade, Chimamanda Adichie-Ngozi and Babatunde Olatunji have been nominated for Grammy Awards. Sikiru Adepoju was part of Mickey Hart’s group Planet Drum, whose title album won the Grammy Award for Best Contemporary World Music Album in 1991, the first year there was a Grammy in that category. Sikiru Adepoju won it again for an album titled Global Drum Project at the 2009 Grammy Awards alongside Mickey Hart, Giovanni Hidalgo and Zakir Hussein.
When Sikiru Adepoju was growing up, he had the knowledge of drumming. However, he never wanted to be a drummer because he hated the struggles his father and grandfather went through because of drumming – especially the terrible treatment they got.
He said, “I had a gift, but for a long time, I ran away from it. However, I discovered that nothing I did succeeded and I always found myself back at drumming either for leisure or quick cash. It made me realize that in life, we’re all just messing with what we think we know. But destiny is a funny thing, isn’t it?”
Despite his earnest desires, Adepoju never really had a formal education because his mother died early. So in 1974 and as he was running away from drumming, he moved to Lagos and tried to be a shoemaker in Olateju, Mushin. Nonetheless, word somehow got out that he could drum and people would come to beg his boss for his services.
While in Lagos, he was also living with his brother, Rashidi who was also a drummer with Wale Olateju. “I used to go to Itire and there I met Mr. Saka AKA Ori Kan Body who played with Kollington Ayinla. There, I went out with them and I met a band that wanted me to play for them – this was before I started training to be a shoemaker.”
But in 1975, his boss from whom he was learning shoemaking took on a gig as a driver at the airport shortly after Murtala Muhammed died. Slowly, the man took more interest in that and it became his life.
Thus, young Sikiru had to find his own path – drumming beckoned. “Around Agege, I met Sunny Edan who doubted me at first, but eventually gave me a chance to start drumming in 1976.”
In 1976 and Adepoju’s shoemaker boss started making money as a cab driver at the Lagos airport and he began disappearing more. Young Sikiru then took the natural path of music that beckoned. However, he still wasn’t making money.
Around this time, he also started hanging out and pulling all-nighters with his fellow musicianships and instrumentalists at Mayflower, Mushin. There, he met Yomi Israel and Ade Olusayo – both bands.
But around this time, he also became a creative nomad – Ade Olusayo was the third band he joined in 1976. He would change band association as quickly as an MTV Award show host would change clothes. He was looking for a band that would be a home – a band that pays.
Most of the bands he was playing with were doing it for the fun of it – no money was being made. “The idea was to make money from whatever we were ‘sprayed’ by attendees at the hotels we would play at, but Lagosians have always been crazy. They would enjoy our music throughout the ‘jump’ and won’t even spray us a dime (laughs),” he said.
He was with Yomi Israel and Ade Olusayo till 1977. Then, he joined Professor Adelowo. There, he learned how big human heart could be after what he’d seen at Mayflower, Mushin.
“Ashamu bought an entire set of instruments for Professor Adelowo because he believed in his talent – I’d never seen anything like it. There, I also spent one year,” he said.
At this time, he had left his brother, Rashidi’s place for another person’s place. He calls himself, ‘A child of joy,’ with whom a lot of people wanted to be associated.
Then, in 1978, he upped and joined Iya Caroline (A band) in Shomolu, Bariga. In 1979, he had his first child with his partner at the time. It made him hungrier to make more money.
While he was working with Iya Caroline and he was making some money, they had a recording session at a studio in Ikeja, Lagos. There, he met with Biodun, the lead guitarist for Sir Shina Peters in the early days. Biodun was also a close friend of Sir Shina Peters’.
“Around this time, Sir Shina had just split from Adewale – they used to be Shina Adewale as a band. Aboderin had also just bought Sir Shina instruments to work with. Biodun then told me that Shina was looking for a talking drum player. Thus, I became part of the maiden members of Shina Peters’ band. However, it wasn’t really a band for about a year – we were just practicing.
“But at the same time, I was also playing with Yemi Kuti – not a Fela affiliate. Yemi Kuti was a protégé to Commander (Ebenezer Obey) who played juju like Commander. If Commander had clashing shows, Yemi Kuti or YK Ajao would be tasked with playing at the other show. When Shina Peters was ready, I went back to Shina Peters. This went on between 1980 and 1982 – when I joined Commander Ebenezer Obey and Inter-Reformers,” he says.
He left Sir Shina Peters and his band because arguments had started creeping in over money-related issues.The final stroke in that drama was on the way back from a performance in Badagry. Band members wanted Biodun to vacate his position as Band captain.
“I was still young at the time, the issue of Biodun had been brewing before the performance in Badagry. When an argument ensued, Shina pushed my fellow talking drum player in the chest. I was behind Shina who was wearing an Agbada. I followed him and turned the agbada on his face before pushing him to the ground (laughs). That band ended after that,” he said.
After the Shina Peters debacle and considering that he never wanted to be a drummer, he decided to ‘hang his stick.’ With the hiatus, the frustration reached boiling point. In 1982, he became a tout as an independent contractor with the body that is now known as the National Union of Road Transport Workers. He was in charge of ticketing, identity and other permits.
There, he was making a lot of money – N150-a-day in 1982 Nigerian currency which was a lot of money. For context, his rent was just N20 per month at the time. That invigorated his appetite to never play drums again, but destiny had different plans for him.
Around this time, Sir Shina Peters was also trying to get his band back together – he called a meeting which Adepoju attended. It happened at a place called Ariya. But on getting back home, he got a letter from Simon – band captain for Commander Ebenezer Obey and the Inter-Reformers.
Simon had taken his brother to audition for the Inter-Reformers, but his brother failed.
“I was still a tout when I joined Inter-Reformers by pure fortuity. Simon was the band captain for Inter-Reformers and a certain Baba Akilapa was playing back-up drums for Simon. When Baba Akilapa was about to travel to Mecca, I lived on the same street with Simon in Ilasa. After Akilapa travelled, Simon sent me a letter and I joined Inter-Reformers,” he said.
Despite the good news, he was in a dilemma. Before he got home that day to Simon’s letter, he had agreed to join Shina Peters once again and a show was set for Ariya.
In the end, the offer from Commander Obey proved too big to turn down. On the same day that Shina Peters had a show slated for Ariya, Commander Obey and the Inter-Reformers were billed to headline a show in Abeokuta – their host was the Alake of Egbaland. Thus, Sikiru Adepoju chose the bigger gig.
Shina Peters found out that Sikiru had joined Inter-Reformers when both acts were billed to perform at a show. A surprised Shina Peters saw Adepoju playing with Commander Obey.
The Inter-Reformers band and their leader, Commander Ebenezer Obey were a huge deal in Nigeria at the time. In fact, word has it that even though Fela Kuti and King Sunny Ade were cream of the crop to western observers in the 80s, Commander Obey and Inter-Reformers were a cheaper option. Thus, they got a lot of gigs.
With Commander Obey, every Monday morning, members of the band used to get paid at a place called Miliki. Despite those plans, payment was never certain. Whenever payment was disbursed, you would have to make do with whatever you found in your envelope. Nonetheless, the love for drumming kept Sikiru going – that love even made him quit the street life.
With Commander Obey, he traveled to the USA and different parts of Europe in 1983 and 1984. Despite issues with payment and lack of recognition, his gratitude to Commander Obey is recognizable in his tone. He appreciates Commander Obey for giving him a chance in his band from the first day.
In 1985, Adepoju left the Inter-Reformers. The problem had started after they returned from their European Tour in late 1984. Commander Obey set another tour for 1985, but Adepoju had made up his mind that he was not going. A month after leaving Inter-Reformers in 1985, he joined America-based Orlando Julius Ekemode.
Narrating how it happened, Adepoju said, “It was very funny. Rasaki who plays for King Sunny Ade played drums on Orlando Julius’ album in 1985. But as they were about to go shoot a video in Osogbo, Osun State, Rasaki who was moonlighting refused to go for the video shoot because he didn’t want King Sunny Ade to see him.
“Thus, I was called for the video shoot. After the shoot, Orlando Julius asked if I would follow him to the US. I told him that if he would pay me, I would have no problems. I got a contract some weeks later. My fee was $250-a-week for three months. However, I never planned to stay in America.”
For the first time in his career, Sikiru Adepoju had a long-term commitment to a band – but that was for an important reason. He took the job majorly because he wanted to buy a machine that could cut aluminum – at the time, there were very few of those in Nigeria; three in Lagos.
Despite his well-planned itinerary, things didn’t go as planned. Instead of working for three months, Orlando Julius and his band only played three shows before issues arose over personnel and organization.
“Orlando Julius wanted to help Legion De Sisters by bringing them to the US. Channel P Records was distributing for Legion De Sisters at the time in America, but Legion De Sisters had never traveled. Julius knew that Legion De Sisters were gaining some fame in the states and he wanted to help them capitalize on it.
“He also planned to use them as opening acts on his tour dates while they gain notoriety on their own. But then, Legion De Sisters thought Julius was going to use them and they asked for down payment before they leave Nigeria. Julius, who couldn’t pay them was left frustrated and Legion De Sisters was already on show promotion materials. Somehow, they fought and cursed each other,” Adepoju said.
When Sikiru Adepoju, Orlando Julius Ekemode got to New York on October 2, 1985, they were stranded. They were billed to take a road trip to Toronto, Canada for their first show on the tour.
However, show promoters were not picking calls and the bus driver had to be paid. “Things went sour till someone rescued and borrowed money for us to perform two other shows in California,” Adepoju said.
After then, they were idle for about a month until someone rallied round and got them an apartment in California. Their good samaritan whom Adepoju cannot remember then assumed a role as their manager. After then, this manager sought to extend their initial three month visa to one year. Then, the shows began rushing in.
For the rest of the 80’s, he played with Orlando Julius before predominantly white crowds. The genre of music was afrobeat and according to Adepoju, “The genre of music aided love from white crowds. It was afrobeat that didn’t involve the homage and complications of juju.”
Interestingly, there was also subtle rivalry between Orlando Julius and Fela. However, because they were playing on different continents – Julius in America and Fela in Africa and Europe – the rivalry was never really pronounced.
He worked with Orlando Julius from 1985 till 1992. He only departed from Orlando Julius Ekemode because Orlando Julius moved from California to Tennessee. “Since then, I never left the US and I never lived in Nigeria again,” Adepoju says.
At the time, Pa Babatunde Michael Olatunji was a Morehouse-educated Nigerian drummer who left the shores of Nigeria at the age of 23 in 1950. He is known for Broadway shows and composing for Hollywood productions, Raisin The Sun and Spike Lee’s She’s Gotta Have It. As a close friend to John Coltrane, a song on Coltrane’s eponymous 1962 album, ‘Tunji’ is dedicated to Babatunde Olatunji. He also notably worked with Stevie Wonder and Quincy Jones.
By the 80s, Pa Olatunji was a mainstay of American niche music of the African brand. Intermittently, Adepoju worked with him during his long stint with Ekemode. Adepoju has credits on Pa Olatunji’s 1986 album, Dance To The Beat of My Drum.
He became an integral part of Olatunji’s Drums of Passion, and through Olatunji met Grateful Dead drummer Mickey Hart. Since then he has frequently been a guest percussionist during Hart and Bill Kreutzmann’s “Rhythm Devils” segments of Grateful Dead concerts, and played talking drum with Mickey Hart’s group Bembe Orisha, which toured in 2001.
He has been a part of most of Mickey Hart’s projects since they first met, including the albums (and associated tours) Mickey Hart’s Mystery Box, At the Edge, and Supralingua, and was a Grammy Award contributor to Mickey Hart’s Planet Drum and Global Drum Project albums.
“I was determined to make it after I saw the immense opportunity before me. For some reason, God had plans for me and I wanted to make it work. I also knew was versatility could for me in a market that was continually opening up to African percussion and melodies. That was my mission then and now. I just want to be part of history and I have not done badly (laughs),” he said.
While with Hart, Adepoju has learned to play konga, djembe and shakers. In 1993, Adepoju also financed The Honeymakers who were a result of Commander Obey’s depleted Inter-reformers band.
Mickey Hart was the only one named as owner of Planet Drum in 1994. Instead of getting nine gongs, they got one gong and eight certificates. On it, Adepoju says, “It was what it was and we sought to correct that when were were recording Global Drum Project in 2006 and we did.”
Mickey Hart and Sikiru Adepoju
Sikiru is a member of the Mickey Hart Band, has recorded on their CD Mysterium Tremendum, and is featured on vocals on the song “Who Stole the Show?”.
He has collaborated with Muruga Booker and Olatunji on the CD Cosmic Rhythm Vibrations (recently remastered and re-issued by Chesky Records as Circle of Drums).
He plays with Muruga Booker and Badal Roy as part of the Global Village Ceremonial Band, and appeared with them at the Starwood Festival in 2003, which led to the creation of the SpiritDrum Festival (a tribute to [Babatunde Olatunji, which also featured Jim Donovan of Rusted Root, Perry Robinson, Richie “Shakin’” Nagan, Jeff Rosenbaum and Halim El-Dabh).
He has recorded albums with artists as varied as Carlos Santana, Airto Moreira, Bola Abimbola, The String Cheese Incident, Stevie Wonder, Zakir Hussain, Chief Ebenezer Obey, the Inter-Reformers Band, and the Nigerian All-Stars.
In 2003, Adepoju formed his own band, Afrika Heartbeat with his father and brothers . Together, they released the album, Ijinle Ilu – Yoruba for ‘genuine drumbeats.’ Then in 2009, he formed Sikiru Adepoju and Heart beat with Douglas Serrant, Peter Fujii, Deen Badarou, Deszon Claiborne and DJ Deegan Mack Adams.
On making his own music at different time, he said, “It was just fun and taking advantage of the moment. It was never really about making money, but to mark the moment and I did it. But there was a conundrum, I flew my dad and brothers to the US to record our album, but I still couldn’t abandon my primary work for other people because I had to make money.”
At the same event he and Serrant joined a re-launch of the Rainforest Band as a tribute to Merl Saunders, the site of their last performance, featuring his son Tony Saunders, Michael Hinton, and other members of the Rainforest Band and other Saunders’ projects.
Adepoju’s current project is entitled “Limbo Rhythm Project”. It features Sikiru Adepoju, Giovanni Hidalgo, Zakir Hussain, Ian “Inx” Herman, Femi Ojetunde, Peter Fujii, Sola Babatola. and Douglas “Val” Serrant.
Sikiru Adepoju was part of Mickey Hart’s group Planet Drum, whose title album won the Grammy Award for Best Contemporary World Music Album in 1991, the first year there was a Grammy in that category.
He was also part of Mickey Hart’s latest group Global Drum Project, whose title album won the Grammy Award for Best Contemporary World Music Album at the 51st annual Grammy Awards in Los Angeles 8 February 2009
“The Grammy is a platform for me and now, I want to use it for a project. The project will be titled Ajaja by Riddim Doctor – which consists of me, Saminu Adepoju, Giovanni Hidalgo, Peter Fujii, Ian Herman, Femi Ojetunde, Val Serrant and Richard Nagan,” he said.
Sikiru’s 2019 Grammy Gong
The album will drop in March 2020 and its first single drops in January 2020. In finality, Sikiru Adepoju just hopes the guys behind bands get some form of recognition across the world. He feels members of a band don’t get celebrated enough.
Sikiru Adepoju seemed upbeat about everything. Of course he is, he came from nothing to win a Grammy.
OTHER NIGERIAN GRAMMY AWARD WINNERS
Olusegun Olumide Adeola Samuel (Seal)
Olusegun Olumide Adeola Samuel (Seal)
Born Henry Olusegun Adeola Samuel in 1963, he is better known by his professional name Seal. He is a British-Nigerian musician, singer and songwriter best known for his 1994 hit song, “Kiss from a Rose.” He has 14 Grammy nominations to his name and has won four. His song, “Kiss From A Rose” earned him three Grammy awards in 1996 and in 2011 he nabbed his fourth “Imagine”. He is one of the Nigerians who holds the highest numbers of Grammy awards.
Helen Folasade Adu (Sade Adu)
Helen Folasade Adu (Sade Adu)
Born in Ibadan as Helen Folasade Adu in 1959 but professionally known as Sade Adu, the singer, songwriter cum actress grew up in Essex, England. She is known as the lead singer of her eponymous band. Her first Grammy was for “Best New Artist” then another followed in 1994 with “No Ordinary Love” for Best R&B Performance by a Duo or Group With Vocals. She earned her third Grammy in 2002 with “Lovers Rock” in the Best Pop Vocal Album and bagged her fourth in 2011 with “Soldier of Love” for Best R&B Performance by a Duo or Group With Vocals.
Lekan Babalola
Lekan Babalola
Born in 1960, Lekan Babalola is a Nigerian jazz percussionist and musician who started playing the conga at an early age. He has seven albums to his name and two Grammy awards. He began his professional career after joining a band called Samba Samba Band and later New York City-based Art Blakey’s Jazz Messengers band, where he perfected playing the Bongo drums and performing jazz music. In 2006, he became Nigeria’s Grammy Award winner for his work on Ali Farka Touré‘s In the Heart of the Moon which he was credited in three tracks. He also won a second Grammy in 2009 for his work on Cassandra Wilson‘s 2008 album titled Loverly.
Hakeem Seriki (Chamillionaire)
Hakeem Seriki (Chamillionaire)
Born Hakeem Seriki but professionally known as Chamillionaire, he is a rapper, entrepreneur, and investor. Chamillionaire was born to a Muslim Nigerian father and an African-American Christian mother in Washington D.C. and moved to Houston, Texas at the age of four. He clinched a Grammy in 2007 for his song, “Riddin’ under the Best Rap Performance by a Duo or Group category. He received a total of four nominations that year.
Kevin Olusola
Kevin Olusola
Kevin Olusola (born October 5, 1988) is an American musician, beatboxer, cellist, rapper, record producer, singer, and songwriter. Olusola was born in Owensboro, Kentucky, to Nigerian-born Oluwole Olusola, a psychiatrist, and Grenadian-born Curline Paul, a nurse. Olusola is best known as the beatboxer of the vocal band Pentatonix.
He is a member of three-time Grammy award winner Pentatonix‘s band and got married to his heartthrob, Leigh Weissman recently.
Kevin Olusola and his wife Leigh Weissman on their wedding day
Kevin Olusola dressed up for Nigerian wedding, with his friends all wearing the Yoruba cap and he putting on the ‘dog-eared cap’ (Abetíajá)
The ladies all spruced up Nigerian style.
For his wedding, Kelvin Olusola organized a Yorùbá styled wedding.
Honourable mentions of Nigerians artists who have received Grammy nods include King Sunny Ade who is the first to ever receive a nomination in 1983. Femi Kuti has four nominations to his name, Seun Kuti, Babatunde Olatunji and Nigerian writer, Chimamanda Adichie-Ngozi also has a nomination thanks to her feature on Beyonce’s 2015 album
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The wait is finally
over; Burna Boy’s ‘African Giant’ was released in the early hours of Friday, 26th
July, 2019. The title of the album sparks the idea of greatness coming from a
continent wrapping it with satirical theme.
The phrase, ‘African
Giant’ became popular by the artiste after the unhappy incident with Coachella.
This was followed by the album announcement later on. The last album, ‘Outside’
was released in 2018 which became critical acclaim and bagged the best album of
the year on popular award shows. Burna Boy has been having an impressive run
from the start of 2018 with his ground-breaking hits coupled with fan love.
‘African Giant’ is a project borne out of societal issues. The pre-released singles like ‘Dangote’, ‘On the low’ and ‘Gbona’ shows the veracity of the album title and Burna boy has been conveniently able to fit into the street culture that has dominated the pop scene with ‘Killing Dem’ ft Zlatan. One of the highlights of 2019 mainstream scene has been Burna boy with his improvement, consistency, and ingenuity.
Now, let us deconstruct
the album.
The album title track,
‘African Giant’ wraps it contents up in hope and confidence. This track serves
as an overview of what is expected to originate from other tracks in the album.
The track, ‘Anybody’ was performed on the Jimmy Kimmel live show; two nights before the album release. This outstanding move by the A-list artiste further pushed the album to the hearts of many music lovers all over the world. ‘Anybody’ has an irresistible rhythmic pattern with the rich strength of popular music instruments like Saxophone, drums, piano. Burna Boy infuses slangs and popular street references like ‘Anybody wey no wan soji, anybody wey no wan carry body, knack am something’ to create an easy and relatable groove.
The track, ‘Gum body’
featuring Jorja Smith is a detour from the African story shaped from the
beginning of the album. The track is packed with the experimentation of
neo-soul– afrobeats fusion. One must say that the upgraded style of afrobeats
must be applauded on this album. Burna Boy understands the idea of creating
different sounds to ensure responsiveness from diverse fans.
‘Killing Dem’ is that
kind of song you don’t really want to say so much about because you become lost
in the ambiance of the track.
‘Omo’ bears the
interest of raga love. ‘Omo’(Yoruba) which translates directly to ‘Child’. This
word in this indigenous language can also be used to qualify and compliment a
gorgeous looking lady. The artiste has adopted the later meaning by likening
her look with other beautiful women ‘fine
like Omotola’. The track, ‘Secret’ opens a pathway into the dark side of
love.
‘Collateral Damage’ is
one of the potential hit on the album. It has a concise message swathed with
electronic sound; mashed with a mild drum beat. It is also one of my personal
favourite.
‘Another Story’ is not a story for another day but a story Burna Boy addressed roughly but backed with heart striking truth. He unhappily shows the pain behind the formation of the Nigeria territory during colonial times. Burna boy did not only portray his dexterity as an artiste on this album but he further reassures everyone on the essence of keeping abreast of one’s history to solve the socio-economic problem that has been an emerging issue. The collaboration with M.anifest (a Ghanian artiste) brings back a memory of the 1694- 1700 era when Royal African Company was a participant in the Komenda Wars in the old city of Eguafo Kingdom in modern-day Ghana. Collaborating with a fellow Ghanian artiste might be an underlying message that the participation of this buoyant company was also extended to the shores of Ghana. A music video showing the idea behind this track will create more understanding round it.
The track, ‘Pull up’
has a familiar modern time palm wine music vibe. Featuring one of the SDC crew
(Tec or Ghost) might have done much justice to it.
‘Different’ with the
iconic Damian Marley and Angelique Kidjo spurs up the idea of positivity in our
diversity as a continent. The closing part of the song starts an interlude into
the song, ‘Gbona’ serving as a continuation for the theme generated.
‘On the low’ was one of
the late hit releases of 2018 that has proved up to the test of relevance in
2019.
Future on ‘Show &
Tell’ track might not be the best choice of collaboration especially in the
form of dancehall beat but putting up a future collaboration is a positive move
from Burna boy. Burna boy revealed on his breakfast interview last week that
most of the collaboration on the album came organically. Future’s impact on the
track is additional proof of it.
YG brings his gangster
attitude to finesse the flow of vibe and to an extent, he did considerably
well.
On the issue of
collaboration, there were a lot of collaborating artistes that would have not
been necessary on some tracks. An example of that is Future on ‘Show and Tell’
and Jeremih on ‘Secrets’. The artistes sounded too forced to this kind of sound
they are unfamiliar with but on a general note, most of the collaborating were
at their top class.
Usually, on long length
projects, the last song runs into an eclipse. ‘Spiritual’ is the opposite feel
from other projects. The best way to listen to this track might be a spiritual
connection to something high. The album ends with the golden voice of the
superwoman (Burna’s mother) in his life.
One of the things uncontroversial
about this album is the massive impact that has been formed for the continent
as a whole. The album shows the true essence and depicts the true essence of
afrobeats as one of the sources of black music all over the world. It is
popularly known that Africa house a lot of genres but all encapsulated into
afrobeats. Judgementally, the album has not been able to complete an impressive
run the artiste has been on. There is no doubt that the album will garner
impressive record sales.
Also, afro-fusion is
claimed to be created by the artiste but over the years, he has not been
adequately able to cement the veracity of this claim; not even on this new album.
The fusion on these tracks was adequately structured well but no clear
definition or breakdown can be drawn out to finalise the idea of afro-fusion as
a genre or sub-genre.
In conclusion, can
‘African Giant’ reach the conversation of being called a potential classic?
That is a question for you to answer in the comment section below.
Rating: 7.8/10
About Me
Ogunleye Oluwakorede writes mainly on entertainment, history and socio-economic matters. He has previously released works like album reviews and content information. He is also a music critic and analyst particularly on Nigerian music entertainment.
THE NIGERIAN MUSIC INDUSTRY, DEAD OR ROTTEN? – BRAIT AP
The Nigerian Music Industry is one unlucky place for an Indie artist. I’m left to agree with others that the Nigeria Music Industry is not structured. The South Africa and Kenya Music Industry is far better than the Nigerian music Industry because they are well structured.
Over the years, we have seen a massive shift in the music industry world. Digital Music, Tours, Concerts etc. have overtaken CD sales and other forms of generating revenue for an artist. While the likes of the South African, Kenyan and others have quickly adapt to streaming and buying of music, The Nigerian counterpart are still downloading and struggling streaming their favorite artiste on SoundCloud and YouTube.
As an Indie artist, this is very challenging as your streams and album sales can generate you revenues. In South Africa and Kenya, the streaming and album sales culture has set many Indie artist to become professionals musicians and even help them set up their own record labels.
In the Music Business, artiste are becoming DIY musicians refusing record deals and setting up their own record labels. Indie artist are becoming professional musicians enjoying their freedom (revenues).
In Nigeria, upcoming artist and the likes are left at the mercy of record labels. My advice to any upcoming artist especially Hip hop talents is build your own brand and stand with it. Don’t limit your music, there are millions of people out there waiting to hear something new and different. Don’t wait or call on record labels to sign you. If they don’t, sign and promote yourself.
BY BRAIT AP
ABOUT ME
Brait Ap is a Poet, Editorial writer and Indie Artist. He’s the founder of Blackwriters Literary Society, a network for independent writers.
The traditional opening of the album puts in element of traditional drum and adoration to the gods who are hustlers like himself. This particular track infuse a rare theme that the artiste has been able to put into craft
The track, ‘No do’ has been released earlier this year and smashed streaming sites and Tv stations in Nigeria. The highlife and song retro interlopes puts one into a state of realisation and impactful understanding of what life is all about.
Kizz Daniel decides to take a detour to East Africa with Diamond Plantnumz. Diamond gives out his regular feel of love and use of lyrical repetition to create rhythm.
One ticket has taken the No. 2 spot on iTunes singles chart after Burna Boy’s ‘On a low’. Kizz Daniel message addresses the societal trend of materialism common in modern relationship. Cupidity in relationship should not be existent but couples should find ways to build themselves individually as they grow.
‘Oyibe’ with so much inspiring content has not been able to hit listener’s ear because of the limited free flow delivery from the artiste. In line with the album title, ‘No bad songz’, the idea created for listeners is to avoid bad songs on the album.
Kizz Daniel has been able to create diversity in every track put together. A track like ‘Maye’ shows a dark and twisted part of Kizz Daniel when showing love to a woman
Flyboy Inc Owner draws issue of love and addresses them from diverse areas of life. Collaborating with Wretch 32, a Uk artiste on this kind of track is an inspiring move from him. A commendable feat from the album is how Kizz Daniel has been able to grow his voice organically and build an influx of dynamism.
One of my favourite tracks on the album turns out to be a style off the regular Nigerian pop sound. ‘Bad’ with Nasty C incorporates element of the Urban Hip hop sound.
‘Something Dey’ with Dj exclusive and Dammie Vee ends as one of my most disappointing track on the album and it opens a new flow of ‘not too good song’. Dj exclusive presence on the track did not create any form of hype for a regular club banger.
Kizz Daniel is able to build a strong plane of conscious and satirical message with tracks like Ja, Tobi, Time no Dey with its blend of tungba music.
In my opinion, Kizz Daniel cutting off some tracks from the album would have made the album a perfect one because some of the concluding tracks has inspiring meaning but the experimentation process on the diverse sounds has basically shifted the artiste from connecting to the listeners strongly.
Interest on the album will be drawn to the use of harmony to create intriguing sound that can be difficult to resist. Interlopes and other lyric references like ‘Ji Ma sun’ on ‘Poko’ or Shaggy’s ‘It wasn’t me’ on Ikwe were parts of the interesting highlights from the album.
With a follow up album from Kizz Daniel’s ‘New Era’ the artiste has created an interesting sound to listeners and gathered the momentum for him to build his fan base beyond Africa and establish himself as Naija’s finest.
Emphatically, title selection for an album for most Nigerian artiste has turned out to be rarely fascinating. Kizz Daniel ‘No Bad Songs’ is a direct and unequivocal title meaning that has created wide expectation from fans but the album has not convincingly able to prove the ‘no bad songs’ notion. In my opinion, the album stands unpredictable. New Era proved so many critics wrong after months of release in 2016. ‘No Bad songs’ can possibly face this path of history.
I will give it 7.5/10.
The New Lecture Theatre of Bowen University was electrifying to start up the biggest gospel concert of the year. There was a whole new stage set up at the event centre. The lighting and sound were enormous. The concert ushered in its very first performer which is Elsie, 2018 Bowen Got Talent first runner up. Other acts like Tobi and Bowen University choirs followed. Captain Temperature, anchored the show and he mixed his high sense of comedic deftness with real life event to paint happenings in religious centres and churches since it was a gospel concert. One amazing thing about ‘Praise the Almighty’ concert is the consistency that was constant throughout the ministry.
Pillars Communication is a gospel live band that has derived intriguing vibe in highlife and traditional Christian music particularly Yoruba. The group ministration lifted the spirit of worship and made the audience put on their dancing shoes. Teespyce dignified the event as a DJ.
One of the breath-taking moments of the evening was the inspirational movie performance by DeBash Entertainment centred on the blood of Christ redeeming every guilty one that has decided to accept him as his advocate. They extended more creativity in portraying their dance craft and passing an influx of message.
Psalm 59 who also headlined the show is a fast rising gospel artiste and has created a professional bond with Tope Alabi. In his words, he takes this icon as a ‘godmother’. His ministration at the concert showcased his ability to lead in an act of worship. Gospel music for him is something that does not stop. Growth in Lord Jesus and gospel music pave the path for more revelations to connect his ministration with the people.
Ayo Alabi, gave a short address and opened the audience minds to the rigorous process the event went through to be put into place. She gave a sweet and inspiring rendition of songs that were self-composed by her mother. She further brought her mother up the stage to perform. This short session was more of the mother-daughter show of love. Tope Alabi took the stage and owned it. She performed her numerous top hits songs and the twenty minutes she ministered was considered inspiring.
Ayo Ajewole A.K.A Woli Agba establishment of IPM on Bowen soil was one of the expected acts for the night. Dele as the side kick and head of the choir gave bone cracking joke for the evening and this group gave a reason for everyone to laugh. The event ended with after show acts with dance act showcasing their craft.
By Ogunleye Oluwakorede
About Me
Ogunleye Oluwakorede writes majorly on entertainment, history and socio-economic matters. He has previously released works like album reviews and content information. He is also a music critic and analyst particularly on Nigerian music entertainment.
In discerning diverse music genres, there are certain features that have to be identified and these features would be used to explain genres of music in Black music.
Tempo
Rhythm
Melody
Instrumentation
Mood
Lyrics
-Language
Subjects examined
Tempo is usually a pace for a given piece. It helps the composer or musician to convey the diverse feelings in a music piece. Tempos are usually measured in beats per minute (bpm). There is usually no prescribed tempo for most genres of music but an up-beat tempo for a sound like dancehall music is usually about 90-120 bpm. The range of the speed is usually considered for any kind of music that is to be created. Hip hop usually runs between 68-135, something totally off this may lead to another genre entirely.
Different genres use melody in diverse ways. In Jazz, ‘lead’ is usually referred to as the main melody which is usually the point of improvisation. African melody is usually in a form of ‘call and response’ with short, simple beats repeated over and over. Polyphonic texture in melody is also a major feature in African music. Polyphony is the use of one dominant melodic voice accompanied by chords. African music is usually not complete if there is no expression through sound. Cadence is a rhythm of words matched with the beats. Rhythm is an essential feature of Hip hop which has further widened the scope to cadence and flow.
Instrumentation is a very vital element in classifying music genres. African heavy metal performances are usually not complete without the use of bass, drums and electric guitar and this sound is usually found in central Africa such as Kenya. Some instruments found in Africa have had no or little change for over 800 years since their discovery. African instruments have been further classified into the following, particularly those of the sub-Saharan part:
Percussion i.e. Drums
Areophone i.e. Flutes
Membraphones i.e. Timpani
Idiophones i.e. Bells
Chordophones i.e. Kora
Instruments have been a great beauty of African music which has been carved into works of arts and shapes for ancestral messages. There have been few African acts that have been associated to the regular use of early African instrument like Mali’s ‘Mamodu Diabate’ for his popular use of ‘Kora’. The most common instruments in Jazz are trumpet, drums, saxophone, and guitar. Just imagine an instrument like bagpipe played in a jazz performance. That may sound absurd. Each of these instruments has what it interprets.
Mood- The journal of positive psychology discovered that listening to upbeat music could improve moods and happiness in people. Jazz performers use mood to make connections to the audience which in turn switches melodies and draws in better improvisation. Soul music is used to describe the pride and culture of a Black man. Soul music does a lot to a listener’s mood and a soul performer tries to hit the audience with great vocal dexterity.
Language and subject examined- Early African music tends to combine different sounds to express practical life through sound. Music is a universal language because over the years, it has the ability to touch millions of persons which has also served as a form of expression. It is not technically a language but it has the aptitude to a level words cannot exert. The term ‘music is a universal language’ may however be controversial as the term is not actually factual enough. The bottom line is just that it ties the gap between different cultures and languages and this is factual enough. The subject of afro beat in the 70s was to use social criticism to form a presence for social change. Jazz music originated from the early African- American folk songs which involved call and responses during workdays on the farm plantation. This art has in turn extended to other evolved black music like Hip hop, Blues, Soul, Highlife and others. This music is also drawn out from African speech pattern and dance improvisation. The disco music is a music style that started in the mid-60s and its subject of appeal to people is the urban nightlife scene from clubs and night parties. Imagine a disco sound played in a political conscious gathering and check the reaction of those in attendance. The music may be termed useless because the subject of disco music is not for matters like this. The sound has components of a ‘four-on- the-floor’ beat.
A genre can be likened to genus in animal taxonomy. Just like the way animals evolve from their ancestors, music also evolve which in turn forms subgenres. Black music is rich and has evolved from Traditional folk music into a mainstream beauty adopting influences from White popular music. A major factor that has to be briefly examined is musicians that make these kinds of songs. Singers like R Kelly, Ray Charles, Sam Cooke, Beyonce have been associated with RnB. Reggae which has evolved from ska and Jazz has been associated with icons like Jimmy Cliff, Bob Marley.
There are countless numbers of music genres but following these sound features will enable you to discern rigorously between these diverse sounds.
Alternative music; one of Nigeria’s fast rising sound which has been gaining attention from music lovers recently.
Alternative in music will relate back to the development of alternative rock in the 1980s which became widely popular in the 90s. It is totally distinctive from the mainstream rock music from inception. This is now where the controversy will lie; soft rock, hard rock, punk rock and other related rocks is a sub genre of rock music and why can’t they be considered as a genre. This is simple! They are not definitive and independent enough to be addressed as a genre. This is also related to the Hip hop-Trap relationship in Black culture. Trap may be one of the fastest growing sounds but it still lacks a definitive structure, short length of time and still relies on basic rap structure.
In early music, alternative music is usually considered as anticommercial and antimainstream but ironically alternative radical style has accepted commercial prospect just as the original sound by the people.
Let us bring it back to Nigerian music industry; Boj in an interview with notjustok gave his own view on what alternative music is but he was unclear about it but I will totally agree with him on the sound as being a vibe for ‘dance and chill’ .
According to Urban Dictionary ‘Mainstream music is a music that is always played on the radio and the TV, and is on the top 40 list on every music software like iTunes and Spotify’. Leave out the ‘top 40 list’ but I am sure the definition is explanatory enough. If it is a no, let us check another one. Mainstream is current thought that is widespread. It includes all popular culture and media culture, typically disseminated by mass media. So, can it be concluded that Nigerian alternative music is not popular or disseminated with the use of media? This is really divisive, even the artistes who claim to be under this wavy sound cannot strongly describe what it is about from the music they make. The conflicting perception of this sound has not given it the strong ground to be a new genre in Nigerian music industry. It seems like new artistes outside popularly known dance music or afro pop, are trying move from this area by creating an alternate channel which is ‘alternative music’.
The rise of alternative music has been a serious debate. Some say it has existing as far back as the release of Asa ‘Asa’ album in 2006. Brymo also claimed he created alternative music particularly after the release of popular hit song, ‘Ara’ in 2011. The new generation of alternative artistes believe that their sound during the 2010s gained wider attention from music fans. Imagine a genre with no clear source, no regular style or dynamics and no constant top artistes. Aramide has been nominated for alternative category multiple times but she has described herself as an afro-soul singer. Simi has been nominated and popularly addressed as an alternative artiste but ‘Simisola’ album is a work of full pop elements and has further won 2018 best pop album category over Wizkid’s ‘SFTOS’ album. The media has a lot to play in addressing some of these issues and should also avoid creating unnecessary genres and sub-genres without having a good research work and firm understanding about it. Simi has particularly shown a complete distate for this trend. At the 2018 NEClive conference, she asked a valid question about alternative sound. In her words, she states: ‘Alternative to what?’ She added, there are better options and it is not that these songs are not great on their own and not inferior to any. It is high time someone cleared the air about what the sound really means.
In a while, no artiste has been successfully able to create or recreate a certain style for the sound. The sound is not encompassing enough to be independent as a genre; it needs other mainstream music to project itself. That is why you will hear familiar things like alternative RnB, alternative pop, alternative Hip hop and other related things.
Alternative sub -genre around the world tend not to conform to the tradition rudiments of the mainstream music. Alternative music in Nigeria has to be identified specifically because two things can only happen to an alternative sound which is to either suffer mainstream decline like alternative rap or replace and evolve the existing genre and receive commercial momentum like alternative rock.
By Ogunleye Oluwakorede
About Me
Ogunleye Oluwakorede writes majorly on entertainment, history and socio-economic matters. He has previously released works like album reviews and content information. He is also a music critic and analyst particularly on Nigerian music entertainment.
The traditional opening of the album puts in element of traditional drum and adoration to the gods who are hustlers like himself. This particular track infuse a rare theme that the artiste has been able to put into craft
