BY KUNLE AWOSINYAN
Before the demise of Sikiru Ayinde Balogun, Barusati, I have developed love for Abass Akande Obesere, aka Omo Rapala.
Oba Alasakasa has a danceable beat, which he later infused into a workstation. And with his introduction of strippers, Obesere caught the attention of many fans, including this writer.
Unlike Barusati, the Fuji deity, whose songs depict elements of speech and deep language of drums, Obesere improvised a workstation to hypnotise his fans with “Saje” lyrics.
We understand his “Spere” language even though they can’t be found in Yoruba dictionary.
As Professor Wole Soyinka puts it in the analysis of his book, “Alapata Apata”, Yoruba language is like a song. The words must fit in appropriately to give the real meaning but many of the musicians don’t use the words appropriately, the Nobel Laureate said.
If many would not pass Soyinka’s assessment, Ayinde Barrister should be exempted from the exercise. His composition is a case study of the use of Yoruba language itself.
Anyway, I love Omo Rapala’s “Saje and Asakasa” despite his non conformity with the virtuous idea. Obesere now does more of his singing at social engagements than the studio.
Some of his fans had since pitched tents with Wasiu Alabi Pasuma whose lyrics, though with different Fuji tone, are regularly creating new street languages for Fuji lovers.
Interestingly, Pasuma is integrating his beat into a workstation. A good example is his “Awon Angeli mi’, in which he sings into his digital audio beat.
But the shortcoming in Pasuma and Obesere’s workstation is their rigidity. They hardly change their beats unlike Barusati and now Osupa whose beats change from one album to another.
Last Thursday, inside De SWAN Exquisite Hotels and Suites, Makogi, Ogun State, Osupa refreshed our memory of Barusati.
He took up Barrister’s style, adopted much of Barusati’s eloquence and above all he immersed his own talent into Fuji and easily turned things to songs.
Even though he still has a lot to catch up on, when compared to Ayinde Barrister, Osupa was a delight to watch at the party.
Like Barusati, Osupa sang, chanted like a brave hunter and created drumbeat that should live forever on Digital Audio Workstation, DAW, for the new entrants into Fuji music to learn from.
Technology has taken over Hip Hop and lately the Afro beats, this is still lacking in Fuji. Something must be done to keep this special heritage fresh.
The dexterity of the percussionists, the expertise of the talking drummers and their synergy with the vocalists to produce different beats that suit the rendition of the singer cannot be overruled.
Osupa displayed the real musical theatre on Thursday and this happens each time some of these musicians mount the stage to sing.
Barrister’s musical beats vary from one release to another. From Barry at 40 to Fuji Garbage; the memory remains fresh from Fantasia to Fuji Exravaganza and so on. No Fuji singer is so gifted to change beat intermittently like Barusati. This gift I see in Osupa.
What made Mr. Fuji so thick was not just the ability to sing but the great control of the beat, creation of new ones and adaptation to a strange but beautiful percussions.
Of course we will have Barry Wonder around for a long time, technology may later erase many of his songs if we fail to embrace the new science, Artificial Intelligence, that can develop his beats to a Digital Audio Workstation.
I think Pasuma has tried this with his song, “Awon Angeli mi” in which he sings to his recorded beat. This should flow back to the works of Fuji creator, Barusati and now Osupa.
Osupa rhymed Yoruba language to give a beautiful melody while his crew delivered the beat I think should be developed uniquely as Fuji Xerox.
