Tomorrow, at the Premier Hotel, Ibadan, KSA will be performing in a show tagged an Evening with KSA — a three-in-one event that will mark his 66th birthday, 50 years on stage and 35 years as king of juju music. GBENGA SALAU engaged the King of Juju on his journey through life and career.
HE is only 66, but already he has knocked five decades into the career that has transplanted him beyond the shores of his home to global acclaim. That means he started on being his own man at barely 16 — an age when many young ones would still be weaning from their mother’s bosom.
Yet, King Sunny Ade has been around forever or so it seems. Most old men of today grew up listening to his extremely creative sound, which has seen him perform before royalty and commoners; and earned him slots on the Grammy award nomination room as well as other international award programmes. He is perhaps the most travelled musician of all time — having been to almost every continent of the world.
KSA’s musical odyssey started out of conviction about his ability to excel. He left grammar school in Ondo under the pretence of going to the University of Lagos. There, in Lagos, his musical career started.
It was a risk he took. And the very first night he played, he was commended more for his relative young age, but from that time, God has continued to make things possible for him.
“I was fortunate to have joined Moses Olaiya's Federal Rhythm Dandies, he played juju music and I tried my best possible to let him know how good I was,” he recalls.
After some years with Olaiya's band, KSA left to form The Green Spots in 1967. And for various reasons, Adé's band has changed its name several times, first to African Beats and then to Golden Mercury.
In the 1970s and 1980s, Sunny embarked on a tour of America and Europe, where he played to mixed (both Black and White) audiences. His stage act was characterised by dexterous dancing steps and mastery of the guitar, which made Trey Anastasio, American guitarist, composer who later became one of his devout followers, to say, “if you come to see Sunny Adé live, you must be prepared to groove all night."
When Sunny headlined concerts in the United States, The New York Times's Robert Palmer described one of his several shows in New York in the 1980s as one of the most significant pop music events of the decade.
Taking a peek of career that has run full course, you’ll be compelled to ask, why did he leave home at that tender age to pursue a career in music?
“I explained the answer to this question in my book titled, My Life And Music,” he says.
“Sometimes, circumstances can make a man to go into the world to say ‘if I am going to die, let me die, I will take the risk.’ It was a risk because, at home, my parents did not know I was going to Lagos; I was still in secondary school then. But because I loved music and I wanted to play it, I left. Also, being a prince in my community, I was not supposed to play music, but I decided to do that because I love music. I knew I have the passion for music and wanted to become an entertainer.”
When Moses Olaiya's Federal Rhythm Dandies group was having drama through its traveling theatre company, Sunny was transferred to head the music department. It was more or less like a promotion for him and he tried his best as the head of that department. That was how he learnt to be an entertainer on stage.
SO, what does the celebration mean to him?
KSA, who has been nominated twice for a Grammy and recognised with an honorary doctorate degree by Lagos State University, Ojo, and currently, a visiting professor at the Obafemi Awolowo University, draws a long laugh and jokes, “it means a lot.”
“I cannot quantify or fully express its importance to me. I’m 35 years on the throne and for this, it means a lot. I thank everyone involved in the planning and we really have a lot of things to offer during the celebration. Music is my life and I will always try my best possible to play it well. But if there is anything wrong with my music or me, please let me know and I will correct it.”
You wonder what has kept the son of a church organist and a mother, who is a trader, relevant all through the years?
The music maestro, who is classed as one of the most influential musicians of all times, says, “it is God, the media and all Nigerians. In fact, they made King Sunny Ade who he is today, and all I’m doing is to keep on trying my best. But within me, I know my best is yet to come and I will continue to strive to be the best I can. So, you are the ones who can say he is still there, I cannot say that.”
Does he have any idea of winning the king of juju music title then? “No, not at all! I don’t know how many musicians that were even nominated. I only know that a poll was conducted through the papers and after that, I was told I had won.”
How did he feel when he was declared king of juju music?
“It was like having the experience of a young man meeting a woman for the first time; he would be confused because he does not know why the lady consented and what made the lady to appreciate him. It was like being in a dreamland,” he jokes.
Sunny continues, “you know, it was a product of an opinion poll, which was not organised by me or my organisation or somebody close to me. So, the experience was more or less like finding oneself in the cloud. Thereafter, it became a challenge of life and the profession, it more or less became my examiner; it shaped what I do and what not to do. I thank God that the press made it possible for me to excel.”
For those who are used to KSA’s dexterity on stage, his dance and stagecraft won’t be lacking at the gig. The way he danced 35 years ago is still how he will throughout the concert round.
“A doctor can only ask me if I am fit, but he won’t tell me not to dance. If I know I can, I will continue to dance. What you saw me do recently at Ebenezer Obey’s show is a glimpse of what to come. By the grace of God, I will do better than that during the celebration. So, all KSA fans should expect something special,” the former president of Performing Musicians Association of Nigeria (PMAN) retorts.
There have been many landmarks in KSA’s career journey. He spotlight some of them.
Encounter with Orlando Owoh
FOR Sunny, their encounter was basically in the boxing arena. He says what he loved about the late kenery crooner was his discipline. “He was my senior in school, he trained us on how to be boxers; we were living in the same area. I was in primary school then. We loved him because he was more or less like the local champion of the area in boxing. He was there to train the younger ones and we went to him because we wanted to be boxers. I was a very tiny person, then, and we went into boxing because we wanted to always defend ourselves in the school.”
He adds, “the moment you are with him, the first thing he would ask is, where are your books? He would want to know how good you are as a student, which in turn, determines if he would accept to train you or not. If you were not academically good, he would not accept to train you.”
And the illusive Grammy
AFTER the death of Bob Marley, Island Records began looking for another third world artist to put on its contract, while Arista Records had just signed Fela Kuti. Producer Martin Meissonnier introduced KSA to Chris Blackwell, leading to the release of Juju Music in 1982.
Sunny Adé's brief recordings with Island records opened the floodgates for other world music artists such as Senegalese Youssou N'Dour, Mali's Salif Keita and a host of others.
In 1987, Sunny Adé returned to international spotlight when Rykodisc released a live concert he did in Seattle, USA and was given an astonishing embrace by fans across the globe that were eager for another international album release.
He soon employed an American manager, Andrew Frankel, negotiated another three album record deal with the Mesa record label (a Division of Paradise Group) in America.
One of these albums was 1998's Odu, a collection of traditional Yoruba songs, with which he was nominated for the second Grammy Award and thus making him the first African to be nominated twice for a Grammy.
So why has it been difficult for homegrown artistes to win the Grammy —Femi Kuti has also been nominated three times in recent past?
“According to what I heard, it is because it’s difficult for the judges to categorise my type of music. That is what I was told. I also learnt that it was because of that the World Music Award was created, which is purely for Africans and Asians. I believe one day one of us will get the award. Occasionally, I also ask that question too, and it all boils down to how Nigerian government treats its artistes. Besides, we believe in playing foreign music and there is no way we can be better than those we are copying or beat them in their own type of music,” he says.
Live shows and Nigerian artistes
What’s KSA’s take on young artistes not being able to perform live at shows?
“It is partly the fault of Nigerian government because for you to buy instruments today, it costs a lot of money,” he says. “It is not easy bringing a band together, unless you are ready to spend your last to keep the memebers; this is because the band members will tell you to your face how much they want to take before they go for a show with you, and sometimes you are not sure of how much you will make from the show.”
KSA continues, “we are returning to the era of playing live, new bands are coming up and young artistes are beginning to have their own bands and equipments. It may not be as big as what they want or should be, but at least they have one. And they know the difference between having a plastic and having a band because when you have a band, you will play better than the already recorded song. This is because while on stage, you have the opportunity to vary the style in line with the mood and demand of the audience.”
What is it like managing your band?
“It is not easy, but I still thank my band members. I make them see the relationship as one of husband and wife. I call myself the team leader and God has been giving me the wisdom to relate and manage the band. All the members of the band are my friends and they give me the respect as the leader and I pray I do not misuse it because the moment it is misused it, they will look into your eyes and tell you off, and there is nothing you can do. As the leader, they give me the respect and I let them know that they have made me the leader by ensuring that we work together harmoniously,” he says.
With his latest effort, isn’t he moving towards gospel?
“From the outset, I have been a gospeller,” he enthuses. “My first work in life was a gospel song and I will continue to do so. If you look at the one before this and a list of all the songs I have done, you will see that 99 per cent of them are gospel.”
BORN on September 20, 1946 in Osogbo, Osun State, Omoba Sunday Adegeye, apart from being an international musician, KSA also runs multiple companies in several industries, including creating a non-profit organisation called the King Sunny Adé Foundation.
In 2008, his contributions to world music was recognised; as he was given an award for his outstanding contribution to world music at the Reggae and world music awards held at the Appollo Theater in Harlem, New York. King Sunny Adé has also been inducted into the Afropop Hall of Fame, at the Brooklyn African Festival U.S.A.
Does he encourage his children to be musicians?
“I do encourage them; in fact, music flows in their blood. But the main thing is, as I did not pass through the university, I want them to be university graduates before going into music. And if they call me then, I will be glad to be their manager, that is, if I am not too old for them. I do encourage them; I do tell them that they cannot just jump into music without formal education, because of the business in music,” he says.
HE is only 66, but already he has knocked five decades into the career that has transplanted him beyond the shores of his home to global acclaim. That means he started on being his own man at barely 16 — an age when many young ones would still be weaning from their mother’s bosom.
Yet, King Sunny Ade has been around forever or so it seems. Most old men of today grew up listening to his extremely creative sound, which has seen him perform before royalty and commoners; and earned him slots on the Grammy award nomination room as well as other international award programmes. He is perhaps the most travelled musician of all time — having been to almost every continent of the world.
KSA’s musical odyssey started out of conviction about his ability to excel. He left grammar school in Ondo under the pretence of going to the University of Lagos. There, in Lagos, his musical career started.
It was a risk he took. And the very first night he played, he was commended more for his relative young age, but from that time, God has continued to make things possible for him.
“I was fortunate to have joined Moses Olaiya's Federal Rhythm Dandies, he played juju music and I tried my best possible to let him know how good I was,” he recalls.
After some years with Olaiya's band, KSA left to form The Green Spots in 1967. And for various reasons, Adé's band has changed its name several times, first to African Beats and then to Golden Mercury.
In the 1970s and 1980s, Sunny embarked on a tour of America and Europe, where he played to mixed (both Black and White) audiences. His stage act was characterised by dexterous dancing steps and mastery of the guitar, which made Trey Anastasio, American guitarist, composer who later became one of his devout followers, to say, “if you come to see Sunny Adé live, you must be prepared to groove all night."
When Sunny headlined concerts in the United States, The New York Times's Robert Palmer described one of his several shows in New York in the 1980s as one of the most significant pop music events of the decade.
Taking a peek of career that has run full course, you’ll be compelled to ask, why did he leave home at that tender age to pursue a career in music?
“I explained the answer to this question in my book titled, My Life And Music,” he says.
“Sometimes, circumstances can make a man to go into the world to say ‘if I am going to die, let me die, I will take the risk.’ It was a risk because, at home, my parents did not know I was going to Lagos; I was still in secondary school then. But because I loved music and I wanted to play it, I left. Also, being a prince in my community, I was not supposed to play music, but I decided to do that because I love music. I knew I have the passion for music and wanted to become an entertainer.”
When Moses Olaiya's Federal Rhythm Dandies group was having drama through its traveling theatre company, Sunny was transferred to head the music department. It was more or less like a promotion for him and he tried his best as the head of that department. That was how he learnt to be an entertainer on stage.
SO, what does the celebration mean to him?
KSA, who has been nominated twice for a Grammy and recognised with an honorary doctorate degree by Lagos State University, Ojo, and currently, a visiting professor at the Obafemi Awolowo University, draws a long laugh and jokes, “it means a lot.”
“I cannot quantify or fully express its importance to me. I’m 35 years on the throne and for this, it means a lot. I thank everyone involved in the planning and we really have a lot of things to offer during the celebration. Music is my life and I will always try my best possible to play it well. But if there is anything wrong with my music or me, please let me know and I will correct it.”
You wonder what has kept the son of a church organist and a mother, who is a trader, relevant all through the years?
The music maestro, who is classed as one of the most influential musicians of all times, says, “it is God, the media and all Nigerians. In fact, they made King Sunny Ade who he is today, and all I’m doing is to keep on trying my best. But within me, I know my best is yet to come and I will continue to strive to be the best I can. So, you are the ones who can say he is still there, I cannot say that.”
Does he have any idea of winning the king of juju music title then? “No, not at all! I don’t know how many musicians that were even nominated. I only know that a poll was conducted through the papers and after that, I was told I had won.”
How did he feel when he was declared king of juju music?
“It was like having the experience of a young man meeting a woman for the first time; he would be confused because he does not know why the lady consented and what made the lady to appreciate him. It was like being in a dreamland,” he jokes.
Sunny continues, “you know, it was a product of an opinion poll, which was not organised by me or my organisation or somebody close to me. So, the experience was more or less like finding oneself in the cloud. Thereafter, it became a challenge of life and the profession, it more or less became my examiner; it shaped what I do and what not to do. I thank God that the press made it possible for me to excel.”
For those who are used to KSA’s dexterity on stage, his dance and stagecraft won’t be lacking at the gig. The way he danced 35 years ago is still how he will throughout the concert round.
“A doctor can only ask me if I am fit, but he won’t tell me not to dance. If I know I can, I will continue to dance. What you saw me do recently at Ebenezer Obey’s show is a glimpse of what to come. By the grace of God, I will do better than that during the celebration. So, all KSA fans should expect something special,” the former president of Performing Musicians Association of Nigeria (PMAN) retorts.
There have been many landmarks in KSA’s career journey. He spotlight some of them.
Encounter with Orlando Owoh
FOR Sunny, their encounter was basically in the boxing arena. He says what he loved about the late kenery crooner was his discipline. “He was my senior in school, he trained us on how to be boxers; we were living in the same area. I was in primary school then. We loved him because he was more or less like the local champion of the area in boxing. He was there to train the younger ones and we went to him because we wanted to be boxers. I was a very tiny person, then, and we went into boxing because we wanted to always defend ourselves in the school.”
He adds, “the moment you are with him, the first thing he would ask is, where are your books? He would want to know how good you are as a student, which in turn, determines if he would accept to train you or not. If you were not academically good, he would not accept to train you.”
And the illusive Grammy
AFTER the death of Bob Marley, Island Records began looking for another third world artist to put on its contract, while Arista Records had just signed Fela Kuti. Producer Martin Meissonnier introduced KSA to Chris Blackwell, leading to the release of Juju Music in 1982.
Sunny Adé's brief recordings with Island records opened the floodgates for other world music artists such as Senegalese Youssou N'Dour, Mali's Salif Keita and a host of others.
In 1987, Sunny Adé returned to international spotlight when Rykodisc released a live concert he did in Seattle, USA and was given an astonishing embrace by fans across the globe that were eager for another international album release.
He soon employed an American manager, Andrew Frankel, negotiated another three album record deal with the Mesa record label (a Division of Paradise Group) in America.
One of these albums was 1998's Odu, a collection of traditional Yoruba songs, with which he was nominated for the second Grammy Award and thus making him the first African to be nominated twice for a Grammy.
So why has it been difficult for homegrown artistes to win the Grammy —Femi Kuti has also been nominated three times in recent past?
“According to what I heard, it is because it’s difficult for the judges to categorise my type of music. That is what I was told. I also learnt that it was because of that the World Music Award was created, which is purely for Africans and Asians. I believe one day one of us will get the award. Occasionally, I also ask that question too, and it all boils down to how Nigerian government treats its artistes. Besides, we believe in playing foreign music and there is no way we can be better than those we are copying or beat them in their own type of music,” he says.
Live shows and Nigerian artistes
What’s KSA’s take on young artistes not being able to perform live at shows?
“It is partly the fault of Nigerian government because for you to buy instruments today, it costs a lot of money,” he says. “It is not easy bringing a band together, unless you are ready to spend your last to keep the memebers; this is because the band members will tell you to your face how much they want to take before they go for a show with you, and sometimes you are not sure of how much you will make from the show.”
KSA continues, “we are returning to the era of playing live, new bands are coming up and young artistes are beginning to have their own bands and equipments. It may not be as big as what they want or should be, but at least they have one. And they know the difference between having a plastic and having a band because when you have a band, you will play better than the already recorded song. This is because while on stage, you have the opportunity to vary the style in line with the mood and demand of the audience.”
What is it like managing your band?
“It is not easy, but I still thank my band members. I make them see the relationship as one of husband and wife. I call myself the team leader and God has been giving me the wisdom to relate and manage the band. All the members of the band are my friends and they give me the respect as the leader and I pray I do not misuse it because the moment it is misused it, they will look into your eyes and tell you off, and there is nothing you can do. As the leader, they give me the respect and I let them know that they have made me the leader by ensuring that we work together harmoniously,” he says.
With his latest effort, isn’t he moving towards gospel?
“From the outset, I have been a gospeller,” he enthuses. “My first work in life was a gospel song and I will continue to do so. If you look at the one before this and a list of all the songs I have done, you will see that 99 per cent of them are gospel.”
BORN on September 20, 1946 in Osogbo, Osun State, Omoba Sunday Adegeye, apart from being an international musician, KSA also runs multiple companies in several industries, including creating a non-profit organisation called the King Sunny Adé Foundation.
In 2008, his contributions to world music was recognised; as he was given an award for his outstanding contribution to world music at the Reggae and world music awards held at the Appollo Theater in Harlem, New York. King Sunny Adé has also been inducted into the Afropop Hall of Fame, at the Brooklyn African Festival U.S.A.
Does he encourage his children to be musicians?
“I do encourage them; in fact, music flows in their blood. But the main thing is, as I did not pass through the university, I want them to be university graduates before going into music. And if they call me then, I will be glad to be their manager, that is, if I am not too old for them. I do encourage them; I do tell them that they cannot just jump into music without formal education, because of the business in music,” he says.
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