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Ajegunle, a densely populated ghetto in the Lagos suburbs is notorious for so many things. The community is home to about two million Nigerians of different ethnic, religion and socio-political backgrounds. More importantly however, the slum also known as AJ City is home to different genres of ghetto music and scores of music stars. CLETUS NWACHUKWU, in this report, chronicles the musical life of the community music critics argued, is fast becoming the melting pot of Nigerian music.
The name Ajegunle, a Lagos suburb notorious for its filth, crime and violence amidst creativity evokes different feelings for different folks. While some express disgust for the city, which to many, ranks as one of the mega-city's most disturbing ghettos, others revere Ajegunle as home like no other. AJ City as its inhabitants and admirers fondly call it, occupies a princely place in Nigeria's entertainment firmament. In fact, industry analysts have described it as the music headquarters of Nigeria.
The city has also been severally described as a mini-Nigeria and the nation's melting-pot, as virtually every ethnic group making up the Nigeria nation have kinsmen that are residents of Ajegunle. The city also scornfully referred to as the Jungle City is reputed to be home to over two million Nigerians and other foreign nationals who populated the area and stretches to over four local government areas.
As a community within the ever-explosive Nigerian environment, Ajegunle have had its share of public disturbances and ethno-religion influenced violence and crimes in the past.
Nevertheless, this ghetto, which its inhabitants also call Jolly City, has in recent times, becomes one of the most secured and peaceful communities. Observers have attributed the prevailing peaceful atmosphere pervading the community to the cult-like bond of friendship and togetherness that exists among Ajengunle inhabitants.
Though still lacking basic amenities and near-total neglect by government and corporate bodies, the people of Ajegunle still manage to keep smiles on the faces everywhere they go.
Contrary to the seeming widespread negative perception of Ajegunle inhabitants as lazy, never-do-well criminals, observers argued that the city is peopled with hardworking, law-abiding, ambitious, strong inhabitants who also love to enjoy life regardless of their socio-economic limitations. Of course, they love good music, which you can always catch them dancing to happily.
In Ajegunle, it is normal to find the assistant manager of a bank, the insurance marketing executive, mingling with factory and construction workers, even hawkers of Gala at a local drinking bar (popularly known as beer parlour), after a hard day's job. That is the character of the consummate ghetto man. And while making merry in the various bars and eateries littering the city terrain, AJ City dwellers love musical accompaniment in the background.
This singular attribute, music historians of contemporary Nigeria, argued, is responsible for the vibrant music culture and genres as found in Ajegunle today.
Ajegunle, is today not known to have produced different and blossoming musical genres, the city is also renowned for giving the Nigerian entertainment scene some of its cherished entertainers.
From the rubbles of the ghetto they live, several Ajegunle kids has made it to the top of Nigerian music and making waves in the African and world scene. All these, the Ajegunle kids have attained through sheer grit, innate talents, and survival instincts and of course, courage and hard work.
No doubt, the country has gained tremendously from talents and entertainment skills of Ajegunle music icons like the Galala exponent, Daddy Showkey, also known as the Ghetto Soldier, Babay Fryo, the Denge Potz exponent, Father U-Turn among others. Daddy Showkey, who can easily be adjudged Ajegunle's frontline entertainer, mesmerised millions with his unique brand of reggae music and showmanship.
Other stars groomed from Ajegunle are the handsome fresh face and fresh voiced Daddy Fresh, Fuji music star, Saheed Osupa, Baba Fryo, Mighty Mouse, African China, Danfo Drivers, Nicco Gravity and many others.
The change in fortune of Ajegunle started in the late 1980s, when youths from that part of the world (Ajegunle) began to make their impact felt in the nation's socio-cultural life, particularly, in the world's numero uno sport, football. One prevalent norm in a slum is the unbridled passion of the kids in these areas to taste their opium-music and sports, freely. The nation gained tremendously from the exploits of ghetto kids like Tarila Okorowanta, Junbo Awala, Mathias Enebeli, Godwin Iwelumo, Gabriel Okolosi, Emmanuel Amunike, Samson Siasia, in the world of sports. These kids who later became superstars in their own rights groomed themselves, unnoticed on the crude Navy playground decades ago. The famous playground was also to serve as the launch pad for streams of talented youngsters from Ajegunle, who have adorned the national team colors and mesmerised the soccer world to the benefit of the nation.
While the kid footballers were finding a place in the Nigerian polity, their counterparts in the music sector were also striving to stamp their arrival in the crowded Nigerian entertainment scene. Aside singers and talented instrumentalists that rose from the grass of Ajegunle ghettos, the city is also famous for producing some of the country's finest broadcasters and disc-jockeys. They include disc-jockeys like ace broadcaster, Patrick Oke, Master Lee, Stagger Lee, Silver Oforgo, Steve Kadiri and many others who became house-hold names organise dance and musical competitions in popular night clubs such as Combo Hotel, Blue Horse and even in school premises. At that time reggae and pop music were the most popular among the youths. For you to become a successful disc-jockey, you must be able to rap, toast and dance.
With time came the emergence of back street groups like Junior and Pretty, Busy Pretty Boys, whose shinning lights were Daddy Showkey, Daddy Fresh and Pretty. These groups of two or three youngsters enveloped the city and its environs with entertainment at several events and fun places.
The most significant leap came in the early 1990s. And the catalyst was the renowned disc jockey and music promoter, John Nabena, fondly called Jonny Nabs. He established a music centre, which was named the Ragga Dub Chapel (RDC), for the talented youths of Ajegunle to evolve and showcase their own brand of music. The music centre became the most popular spot for the discovery of reggae and hip-hop artistes from far and within Ajegunle City.
The late music promoter, Jonny Nabs once told this reporter, "the Chapel is a mill where we discover and expose talented youths in Ajegunle. And we are going to stop at nothing towards ensuring that AJ City rule the world musically."
His dreams soon became a reality when in 1993, Daddy Showkey, a member of the now defunct group Busy Pretty Boys, alongside Tallman, in a solo effort released an album entitled Welcome. That singular effort rocked the Nigerian music scene and perhaps kick-start a new dawn in the music industry. Much more, that singular effort of Showkey, snowballed into somewhat of a musical revolution among Ajegunle youths who now clearly saw light at the end of the tunnel.
Expectedly, Showkey's effort brought him fame and wealth and it became a reference in the Ajegunle musical history- it fuelled the ambitions of the youths to do better than Showkey, who had nicknamed his brand of music and dance steps as Galala, even though it was more of raga music.
The emergence of Friday Igwe (a.k.a Baba Fryo) on the scene with his hit music 'Denge Potz' further heightened the hope and aspirations of more youths in the area to become successful artistes. More than adding impetus to the fast growing music scene, Baba Fryo's brand of reggae music was a refreshingly flavoured with ethnic rhythms that endeared to scores of music fans across the country and even beyond. Notwithstanding its lyrical weakness, the album enjoyed relative success and acceptance in the Nigerian music scene.
Following the success of his hit debut solo effort, Daddy Showkey, returned with another huge hit Dyna, just like Fryo, who continued his success story with Notice Me, which sold massively across the nation. Unfortunately, however, since the release of the albums, both Fryo and Showkey have not been able to re-enact the great musical forms of sweet dancing and singing cultures they pioneered in Ajegunle. Their failure to sustain their musical heights as evident in their latest efforts has attracted remarks from music critics. Some argued that professional indiscipline could be responsible and for some others, they could have run out of ideas.
Commenting on the issue, a renowned music producer and musician John Oboh, fondly called Mighty Mouse, observed that the emergence of new acts like African China, Danfo Drivers, Raymond King, Rayan T and others has redirected the style of Ajegunle music. He further revealed that the music has shifted gear from slangs and disjointed jagons to what is now described as Ajegunle pidgin English language. Much more, the lyrical contents are now made socially relevant and meaningful.
"I think we're getting somewhere now," he explained. "The youths are now beginning to educated themselves through their own music, which is a clear signal that Ajegunle music could be the much needed tonic to turn the face of the Nigerian music culture," said Mouse.
In the same vein, award-winning music producer, Nelson Brown, who discovered the famous Plantashun Boiz, remarked that Ajegunle has remained the heartbeat of the nation's entertainment industry. Hear him: "It is on record that the best disc-jockeys and dancers are from Ajegunle. I'm very optimistic that the evolution in Ajegunle music will certainly have a positive impact in the entire music industry in this country and even beyond."
The ace producer, who said he surprised music critics with his discovery and production of the defunct R&B music group, reiterated that Ajegunle youths are not relenting in their quest for musical excellence.
Speaking further, he regretted what he called inconsistency on the parts of some artistes, who have not been able to sustain and follow their initial musical success in the subsequent releases.
He however, express the believe that the artistes would soon get it right, if they follow the paths of indigenous musicians who have continued to churn out hits after hits by imbibing Nigeria's cultural heritage. And like many other music aficionados, he agreed that there was a huge vacuum in the local music landscape. This is largely due to the inability of the likes of Daddy Showkey, Baba Fryo and Daddy Fresh to maintain the musical tempo, to the chagrin of several upcoming artistes who fervently looked up to them as inspiring role models.
In recent times however, the foray of new and fresh acts like Marvelous Benjy, Jogodo, Adaz, B'Clean, Danfo Drivers, African China and Don Blaze among other talented young stars, is now viewed as a thoroughly refreshing fillip to the pedigree of Ajegunle ghetto.
One of Ajegunle's vibrant artistes, African China, has been singled out as an artiste to watch. The artiste is said to be improving on every album of his since his debut Crisis. For the average person, the music group Danfo Drivers, summarily sums the God-given talents of the youths from the ghetto. This group is today highly rated for its unique brand of music.
With the likes of Marvelous Benjy, Jogodo, Macaroni, Nico Gravity, B'Clean, Adaz, DonBlaze and Rayan T, winning honours and accolades within and outside the shores of Nigeria, music critics
believe that Ajegunle music and artistes have come to stay.
Nevertheless, a section of industry pundits cautioned over unnecessary showering of accolades on Ajegunle artistes as they think the artistes still have a long way ahead in the music world. However, the artistes seem to think otherwise. Many of the artistes create the impression that they have come to stay and that Ajegunle music can only get better. Listen to African China: "Artistes from the ghetto are talented and let me tell you, once we get started, there's no stopping us. Just expect more hits and great achievements."
Self acclaimed Ghetto President and fast rising dancehall star B'Clean, remarked thus: "We've lots of talents wasting away here in AJ City. For those of us in music, we're poised to bring more honours and respect to Ajegunle and Nigeria, in general. That's why I'd always say no duttiness in the Jungle City." In the words of new music sensation, Adaz, who has continued to captivate the music scene with his hit song Zarokome, the desire of the average ghetto-born musician is to change the negative beliefs and norms stigmatizing the ghetto.
Award-winning ragga star *** producer Marvelous Benjy, is brimming with so much confidence. He exudes so much on the continued prominence of the Ajegunle brand of music on the local and even foreign music industry. Beyond the artistes singing styles, Ajegunle musicians have come with unique and creative dance steps like the Galala, Konto and Suo, which I'd tell you today is bound to rule the world of music,: Benjy asserted.
Ajegunle music is getting better and bigger by the day," reacted the Danfo Drivers made up of Mad Mellon land Mountain Black. "In the world of music AJ run things and things don't run us," the wave-making group added for effect.
Today Ajegunle, the famous Jungle City more than anything else, has become synonymous with music. Remarkably, the youths of the ghetto have continued to channel their energies towards providing pleasure to the society, albeit through music. In the words of a music writer: "I see Nigeria's first-ever Grammy-awards winner coming from among the avalanche of musical talents from AJ City, in a not too distant time."
http://www.ngrguardiannews.com/
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