THE POETRY OF MR. FUJI....A TRIBUTE BY LAGBAJA

Being bombarded with incredulous stories of dizzying billions and the unbelievable wickedness in high places, it is difficult to think or talk about much else. Poorly equipped soldiers being massacred while their superiors were busy lining their pockets with funds meant for essential weapons? Extreme!

However, I was determined to will myself up from this knockdown before I’m counted out again. Five years have flown by since Sikiru Ayinde Barrister left us. About this time each year since his death, some major incident always compelled me to procrastinate with the thought that "I will write the tribute next year”. Five years, and here we go again with another potential postponement. Aah... Billions! Dazed by the combination of hooks and jabs, it is easy to remain on the canvas as another year flows by. Can we please, take a brief break to remember and celebrate Mr. Fuji? Please...

It took a while before I fell in love with the music of Sikiru Ayinde Barrister and Fuji in general. Probably 1983…thereabouts. For a long while I was too enthralled by highlife and its new brothers being birthed by Fela, Oyelana, Bucknor, Haastrup, O.J. etc.. I had no care for much else… well, apart from popular Black music from the USA.

My delay was likely due to a mix of several factors. A major one, probably, was that it was difficult for me to follow the lyrics because of their coloration by Middle Eastern inflections. Somehow, it was easier for me to flow with the words in Haruna Ishola’s Apala than the younger sibling, Fuji. I was already a long-term fan of Haruna. But when I eventually latched on to Barrister’s Fuji, I discovered a wealth of great music. At that time, driven by traditional drums and percussion, Fuji was mostly devoid of Western instruments. Its biggest exponent was Sikiru Ayinde.

His rich voice had a wide range. His stressed falsetto was moving. He had an engaging way with words. To best appreciate the spontaneity of his poetry, one had to see him live on stage. In the studio, the artist has more leeway as one can make corrections and record several takes until satisfied. The stage is less forgiving, especially at a party where the singer has to improvise on the fly when praise singing, as is typical of a Fuji gig. This is where one feels the compositional spontaneity of Barrister. His skill must have been honed from many years of numerous performances.

It would be pleasing to have more potential fans surmount the language barrier and discover the depth of Barrister’s art like I did. I am thus translating one of his last classics as an example of what many have been missing. Really, a translation cannot fully capture the nuances of the lyrics, especially with a rich language such as Yoruba, and in the hands of the adept artist that Ayinde was. However, this should facilitate a better appreciation of his art, especially for those who are as challenged by the language as I was back then. Not that one needs to understand the lyrics of a song in order to enjoy it, but it sure adds an extra dimension to its appreciation. Welcome to the fans club of Mr. Fuji.

“Correction” from the album "Wisdom and Correction”:

I meditate about the world
It is all vanity in my view
Agbaje Lọla… I meditate about the world, in truth
It is all vanity in my view
(Agbaje Lọla is one of Sikiru’s oríkì)
(Oríkì is often translated as cognomen, but it has a deeper meaning)

Ayinde, the world is a market place
(Sikiru often inserts his names and oríkì into phrases thus seeming to admonish himself while speaking to his listeners. That is also the essence of the previous phrase where he called out his oríkì. This is typical in Fuji)
Eternity is home, my people
There is nothing we brought with us into the world
There is nothing we will take back with us when we depart for eternity
I meditate about the world
It is all vanity in my view

Siki, an issue is bothering me, Lọlade (Siki and Lọlade… again, his names)
An issue is really bothering me
Siki, an issue is bubbling in my spirit
Should I reveal it or should I not, Lọlade?
Should I say it or should it remain sealed in my mouth?
Because the world and people are complicated
Because the world is ephemeral
Just like the name of a son of mine, Yinka Ayefẹle
Handsome guy, Ayefẹle
Gospel musican Ayefẹle o
He who sings sweet as honey

Children of Adam, what is wrong?
What is wrong with us, creatures of God?
That we do not accept our destiny as ascribed by the Almighty?
God created us all
Since the day he created us all
As each of us came into this world
Each brought along his destiny
One’s destiny would never change, ever
(He launches into a chant of Islamic verses to illustrate his message. This is also reminiscent of his ajiwere days when he, along with other youngsters, would entertain faithfuls many nights during the Ramadan fast)
Lack of respect as due, is one reason the world lacks peace
The slave should know himself a slave
The pledged laborer should know himself a pledged laborer
The palace chief should not act like his king
And the crowned king himself
Should not compare himself to Almighty God the King
There is only one God Almighty
God Almighty who created everything
Only He is Almighty King

Destination can be changed
Where one is headed might change
Someone may wish to alter another person's destiny
While that person is busy acting out the will of God
They might attempt to turn back the hands of the clock, but…
Kádàrá is destiny
It is different from destination
One will never miss his appointment with his destiny, ever... ever

The kiddie goat is poised to exceed its bounds
It proclaims that itself and the calf are of equal class
But it is public knowledge
The calf had outclassed the billy goat since time immemorial
Right from the day the calf was born, believe me, it was already taller than the billy goat

The reason we cannot be classed in the same category
Sikiru, it starts with age
Because I call you “friend”
Is that why you disrespect me?
Quarrels fueled by envy are tenacious and difficult to settle
One’s superiority? That cannot be openly tendered as the underlying cause of conflict
(Taking poetic liberty, he rephrases this proverb by starting with the phrase which typically ends it)
Hush, keep your mouth in check
Even if I am older than you by just one day
You had better accord me my deserved respect
Kid brother, stop using me to sell your records
The world has wised up to that marketing strategy

In 1958, from the age of ten
I have been entertaining as Ajísàrì
In Mushin, I had been performing as Ajíwéré
1958 to 1963/64… five to six years
The gap between those years, is that tiny?

1966, I innovated the Ajísàrì style to invent Fuji
God is the sole Creator
But, it is through me Ayinde Olokunọla
That He sent forth this Fuji music to the earth
While our mọin mọin had been finely clothed for ages
Their akara remained stark naked
(Mọin mọin and akara are both made with milled beans, but while cooked mọin mọin is served nicely wrapped in leaves, fried akara is served plain, unwrapped)
Their akara remains stark naked

Up to serving as a soldier of the government
Up to serving as a soldier with the military
Each person knows who is senior amongst themselves
Who would dare compare Sergeant-in-Chief
Sergeant Sikiru Ayinde Balogun Dodo
Who would compare him with Kọpuru?
That is… a Corporal
Even if it is just one step
The difference there is not minuscule
Wherever the Sergeant-in-Chief seats
If the Corporal gets there
His hands must freeze at attention
He must stand solidly erect in obeisance
Ahhhh!
The difference involved is not small

The same 1966 I started to wax music records
Under Ishọla Abioro
May the heavenly king grant a soft landing to the departed
From Abule Ọja... Niger Songs was his label’s name
Before going to Gbajumọ in Lagos
Before it became African Songs
Before it got to Martins Street in Lagos
Before Take Your Choice (TYC) came into being
4 singles… Single records
Those ran for 3 minutes only
To Extended… 7 minutes only
Before it came to 1970 when the era of long play records (LP) started
12 records…
Add those to 4 Singles, 2 Extended (EP)
That becomes 18
From 1966 until 1974
Before you even dreamt of starting out at all
Those 8 years in between, are those few?
It is right from birth that the marmot has been the elder of the squirrel
So if now, one does not gently accept one’s pre-destined lot
He would eventually be choice-less in accepting the inevitably worse doom
(This Yoruba proverb plays on the words kádàrá and kodoro)

The same 1966 to 2006…
120 albums… that is the number of my music records
Each, different from the other
Yesterday’s does not resemble today’s
However, it is not by my wisdom
It is the will of God
And it is neither by my might
It is by the might of God
That is why I am grateful
I would not be abandoned by the grace of Almighty God
The number of records you have made
Come out and enumerate them for the world to hear
So the public can compare
And tell how on earth we would be lumped together as being of the same class and category
(He launches into more Islamic chants)

Since the days that I have been making music and having fun
Since I have been performing
I have been according due respect to the elders ahead of me
Respect also for those coming behind me
As well as those who are my contemporaries and equals
But now you are just crawling in
Twenty years plus one
1985, specifically, in the record “Fertiliser”
I honored and accorded respect to the elders
Of Ajísárì... of Oníwéré
Therefore, if one does not give me my deserved respect
Ọlọlade… I would demand
Because I give due respect to those ahead

In some instance, silence is golden
At some other instance, silence means consent
I would have kept quiet and not talk.. but
Gentility of a tiger
Is never an application to its timidity
The gentle stealthy strides of a tiger
Is not borne out of fear or lack of courage
Speaking out is not because of today, not because of tomorrow
But because of many many years to come
And also because, if the little child did not witness history
He would definitely encounter its recounting
The legend is the father of the tale

All who seek my progress, Ayinde
Goodness should be their lot
All who seek my downfall, on the other hand
Who say I should not thrive
Evil should be the lot of them all
(Islamic chants)

Lots of trees abound in the wilderness
Before the Ìrókò tree was made the king of them all
Once upon a time, there was a misunderstanding
All the trees were quarreling with one another in the forest
The king of the forest could not sleep from the commotion
The king of the plains could not keep his peace
All were running helter-skelter
They sent for Julius Berger
To come and arbitrate in this dispute
Julius Berger resorted to pleading with them
They responded by asking him to shut his mouth
Really?… Were they crazy or possessed?
What insulting effrontery?
No matter how mighty the tree… Whether it is Àràbà, Ìrókò...Olúwéré
There is none amongst the trees, no matter how numerous
If it haughtily stands against Julius Berger with disdain
In a short instant
The tree would become history rather quickly

The child who says his father is not wealthy
The child who says his mother is poor
The father then responded
The mother replied that...
Child… be patient
Don’t be hasty beyond your life’s pace
My child, is it for one to become wealthy?
You are right in the thick of it, our child
(You would soon discover how "easy" it is)

Look at the acrobatic ape Olókítì
Who rushes to the home of the monkey, with a majestic swagger
They welcomed him with warm greetings
He ignored them, he did not even respond
Instead he arrogantly jacked his shoulders high and spread his arms wide
When Olókítì spoke, he said he had travelled farther and wider than them all
He asked everybody to come on out to the open grounds
“I want to teach you the new tactics
The modern somersaulting tactics now in vogue all over the world
Different from your outdated close-to-the-ground styles you had known all your lives
New tactics, I want to teach you… brand new!”
The monkey did not argue with the olókítì
Monkey did not exchange words with Olókítì at all
Monkey called his grandchild to come out
He said, "Here is the horse, here is the field"
He said they should duel in acrobatics in the presence of all
And let the spectators judge

Before Olókítì somersaulted twice
The monkey’s grandchild had somersaulted two thousand times
Before Olókítì somersaulted six rounds
The monkey’s grandchild had somersaulted six thousand rounds
Before Olókítì could do twelve
The monkey’s grandchild had done millions
Olókítì thus raised his hands in humble surrender
He asked for forgiveness, for being so disrespectful

Monkey did not join issues with Olókítì
He asked Olókítì to seat down, “There are a couple of sentences I wish to say to you”
"In the future, Olókítì, desist from haughty disrespect
Don’t think too highly of yourself
Do not be arrogant, stomping the ground in undeserved overconfidence
Pride is before downfall"
Olókítì then prostrated flat
Saying, “I apologize”
(Islamic chants which mean):
All those unearned feelings of greatness are misplaced...
Only God is great

We are beloved (referring now to himself as well as his band)
The world loves us... This is the aforementioned issue
We are loved
The world loves us... People, young and old
They love us
Ours is what the world wants
That is the point

They seek misery (rendered in the same melody as “We are beloved” above)
Misery they seek
He seeks trouble
Trouble he seeks
The dog that ambushes the tiger
It seeks misery
Misery it seeks
This is the crux of the matter
It seeks misery
Misery it seeks
Sikiru, that is the point
He seeks misery
Misery he seeks

... a tribute by Lágbájá