Why I'm an "Ebenezer Man"

Those of a certain age, like me, will remember when the Beatles first hit the international scene in late 1963. Within a few months Beatlemania swept around the world like a tsunami.

We Beatlemaniacs (the male ones, anyway) soon divided ourselves into two factions: "Paul Men" and "John Men." Of course, all the girls were crazy about Paul McCartney, the "Cute Beatle," and "Paul Men" loved his bitchen' bass guitar that looked like a violin. "The Smart Beatle," John Lennon, didn't get as much attention at first. But while McCartney always had a way with the catchy melody, it was Lennon who contributed the most meaningful and insightful lyrics to the Beatles canon. He had a nuanced and cynical view of human nature that struck a chord with the youthful and rebellious. That's why, even though Lennon and McCartney complimented each other perfectly, and none of the work they did on their own ever equaled what they did together, I've always been a "John Man."

I suspect that jùjú music fans similarly divide themselves into factions following King Sunny Adé and Ebenezer Obey (just for sake of argument, we will leave out of the equation I.K. Dairo, Prince Adekunle and the like, much less the silly Shina Peters!).

King Sunny Adé was the one who brought jùjú music out of Nigeria in 1982, when his LP Juju Music was released on Island Records, but of course he didn't create the style. Nor did Ebenezer Obey, but he'd been playing jùjú since the mid-1950s, and founded his International Brothers Band (later re-named the Inter-Reformers) in 1964. Following Sunny's initial success, there was a desultory attempt to market Obey to an international audience, and a bizarre record, Je Ka Jo (Virgin 205761) was released in 1983. A big glob of over-produced mush, Je Ka Jo had nothing to do with jùjú music as it was generally understood, and disappeared without a trace.

If Virgin Records had licensed some of Obey's great Nigerian releases like Current Affairs (Decca WAPS 488), Sound of the Moment (Decca WAPS 498) or Eyi Yato (Decca WAPS 508), they might have gotten somewhere. Those records, all released in 1980, with their soul-stirring Yoruba harmonies, mind-bending guitar work and echoes of American rhythm and blues, display the great Obey at the peak of his powers. In comparison Sunny Adé, as good as he is, is just outclassed.

That's why I'm an "Ebenezer man."

Nigerian fans have their own favorite recordings. Board Members (Decca WAPS 38, 1972) is probably the most popular of Obey's early releases, while many swear by The Horse, The Man and His Son (Decca WAPS 98, 1973). I myself have always been partial to two albums he recorded in London in 1969 and 1970, In London (Decca WAPS 28, later reissued as Obey WAPS 28), and On the Town (Decca WAPS 30, reisued as Obey 30). In the coming years Obey would adopt some of the innovations of the other jùjú musicians - pedal steel guitar and long, extended jams - but these albums are interesting for their blend of jùjú and highlife elements.

Here's In London. Click on the picture below to read about the songs. When I digitize it, I will post On the Town here as well.

Ebenezer Obey & his International Brothers - Egba

Ebenezer Obey & his International Brothers - Ijesha

Ebenezer Obey & his International Brothers - Ibadan

Ebenezer Obey & his International Brothers - Iba Foluwa/Ajo Kodabi Ile

Ebenezer Obey & his International Brothers - Ijebu

Ebenezer Obey & his International Brothers - Ondo/Ogbomosho

Ebenezer Obey & his International Brothers - Ori Mi Ko Ni Buru

Ebenezer Obey & his International Brothers - Ore Se Rere

Ebenezer Obey & his International Brothers - Omoba Sijuade/Moti Wa E

Merry Christmas!

As you would expect this time of year, things have been super hectic around here, and I just haven't had time to post. There's not a lot of African Christmas music out there, but I did manage to dig up a couple of tunes for your holiday enjoyment. Our first selection is by Kenya's Kilimambogo Brothers Band, "Shangilia Christmas Pts. 1 & 2," (Les Klimambogo LES 22). The second is side 1 of Ebenezer Obey's (left) 1972 LP Odun Keresimesi (Decca WAPS 62), also known as A Christmas Special From the King of Juju.

I'll try to get in another post in the next couple of days (I've got a couple in the hopper; I'm just working on the finishing touches), but if I don't: Merry Christmas, Happy Holidays, a festive Kwaanzaa, whatever!

Les Kilimambogo Brothers - Shangilia Christmas Pts. 1 & 2

Chief Commander Ebenezer Obey & His International Brothers Band - Odun Keresimesi / Irinse Lo Jona Obey O Jona / Irin Ajo / Ile Oba To Jo

Update: I just found out that Eid Al-Adha begins Thursday, December 20 this year. My very best wishes to all of our Muslim friends, and I apologize for overlooking this earlier.

Nigeria's Unsung Prince of Juju

Most people who have a passing acquaintance with African music are familiar with juju music from Nigeria, and its most famous practitioner, King Sunny Ade. If they've done a little more exploring they've probably come across the music of Ebenezer Obey, I.K. Dairo or Dele Abiodun.

Chances are, though, that they've never heard of "General" Prince Adekunle, which is a shame, because he's easily among the first rank of juju artistes. I have been unable to find out anything about Mr. Adekunle personally, or where he may have served his musical apprenticeship. He seems to have made his first recordings in the late 1960s (I suspect he adopted the moniker "General" as a tribute to to the controversial "Black Scorpion," General Benjamin Adekunle, who played a critical role on the Federal side during the Biafra War.)

During his 1970s glory days Adekunle's Western Brothers band (later renamed the Supersonic Sounds) was the proving ground for numerous juju musicians, notably Segun Adewale and Sir Shina Peters, who have acheived far more fame internationally than their mentor. He issued numerous popular recordings during that decade, his output slowing during the 1980s. After 1990's People!!! (Ibukun Orisun Iye MOLPS 118) little has been heard from him. His decline in popularity seems to parallel the declining fortunes of juju itself.

In the hopes of giving more attention to this unjustly neglected artist, I present here a sample of recordings by Mr. Adekunle, all from the late '60s or 1970s. With the exception of the 1975 selection, these are taken from cassette reissues rather than the original vinyl. The sound quality, though, isn't too bad, and I think you'll agree that the musicianship more than compensates for any deficiencies.

Our first three tunes are from a cassette entitled Good Old Music of Prince Adekunle (Ibukun Orisun Iye MOLPS 72), which compiled a number of 45s made by Adekunle at the beginning of his career, probably in the late '60s. "Bisimilai" is notable for its use of the trumpet, almost unheard of in juju, while "Ko Sore Bi Jesu/Ofofo O Da" pays tribute to Victor Uwaifo's "Joromi" in its opening bars:

Prince Adekunle & his Western Brothers - Bisimilai

Prince Adekunle & his Western Brothers - Se Rere Fun Mi

Prince Adekunle & his Western Brothers - Ko Sore Bi Jesu/Ofofo O Da

1972's General Prince Adekunle in the United Kingdom (Ibukun Orisun Iye MOLPS 6), finds Adekunle & the band in an expansive mood, in one of those 18-minute jams that had by then become de riguer for any juju band:

General Prince Akekunle & his Western Brothers - London Special

By 1975 the Western Brothers had become the Supersonic Sounds, and had developed an even spacier, more "psychedelic" sound. Although Side A of You Tell Me That You Love Me Baby (Ibukun Orisun Iye MOLPS 30) is one of the more exciting, danceable sequences in the juju canon, check out the groove Adekunle & the band get going on this, the B side:

General Prince Adekunle & his Supersonic Sounds - Aiye Nreti Eleya/Aropin Ni T'enia/Eni To Lohun o Fe Tiwa/Awon Ma Wo Won Bo/Ota Ile Dehin Lehin Mi

One thing I find especially charming about juju recordings of the '70s is the musicians' penchant for dropping into the mix anything that catches their fancy: church hyms, Broadway show tunes, what have you. Catch Adekunle's quotation from Fela Anikulapo-Kuti's "Gentleman" late in this medley from 1976's Awodi Nfo Ferere (Ibukun Orisun Iye MOLPS 32):

General Prince Adekunle & his Supersonic Sounds - Omo Niyi Omo Nide/A Ki Nromo Ra Loja/Ma Se'ka Iwo Ore/Esan Nbo Wa

Discography of Prince Adekunle