Oluko Imo - Oduduwa / Were Oju Le (the Eyes Are Getting Red) - VINYL LP
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Reissue of the 80s 12Inch single from Trinidadian musician Oluko Imo (Black Truth Rhythm Band), featuring Fela Kuti and Femi Kuti. Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria. On the A-side, title track 'Oduduwa' is a brooding slice of peak-era Transatlantic Afrobeat, blending a heartfelt plea for social justice and equality with a haunting piano line, shuffling drums and ethereal sax solo. The song takes it's name from Oduduwa, the founder of the Ife Empire, who is also seen as a divine Orisha (deity) in Yoruba culture, one that is often evoked by musicians and activists in Trinidad as a signifier of Yoruba heritage on the island. On the flip, 'Eyes Are Getting Red (Were Oju Le)' is a long-lost slice of low slung Afrobeat featuring both Fela and Femi Kuti. Classic Nigerian horns and keys combine with Oluko Imo's Caribbean-influenced guitar and Fela's virtuoso sax solo, bridging the musical gap between Lagos and Port of Spain.A1. Oduduwa B1. Were Oju Le (The Eyes Are Getting Red)
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- GenreRockDescriptionReissue of the 80s 12Inch single from Trinidadian musician Oluko Imo (Black Truth Rhythm Band), featuring Fela Kuti and Femi Kuti. Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria. On the A-side, title track 'Oduduwa' is a brooding slice of peak-era Transatlantic Afrobeat, blending a heartfelt plea for social justice and equality with a haunting piano line, shuffling drums and ethereal sax solo. The song takes it's name from Oduduwa, the founder of the Ife Empire, who is also seen as a divine Orisha (deity) in Yoruba culture, one that is often evoked by musicians and activists in Trinidad as a signifier of Yoruba heritage on the island. On the flip, 'Eyes Are Getting Red (Were Oju Le)' is a long-lost slice of low slung Afrobeat featuring both Fela and Femi Kuti. Classic Nigerian horns and keys combine with Oluko Imo's Caribbean-influenced guitar and Fela's virtuoso sax solo, bridging the musical gap between Lagos and Port of Spain.A1. Oduduwa B1. Were Oju Le (The Eyes Are Getting Red)ArtistOluko ImoTitleOduduwa / Were Oju Le (the Eyes Are Getting Red)FormatVINYLLabelSoundway Records
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Reissue of the 80s 12Inch single from Trinidadian musician Oluko Imo (Black Truth Rhythm Band), featuring Fela Kuti and Femi Kuti. Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria. On the A-side, title track 'Oduduwa' is a brooding slice of peak-era Transatlantic Afrobeat, blending a heartfelt plea for social justice and equality with a haunting piano line, shuffling drums and ethereal sax solo. The song takes it's name from Oduduwa, the founder of the Ife Empire, who is also seen as a divine Orisha (deity) in Yoruba culture, one that is often evoked by musicians and activists in Trinidad as a signifier of Yoruba heritage on the island. On the flip, 'Eyes Are Getting Red (Were Oju Le)' is a long-lost slice of low slung Afrobeat featuring both Fela and Femi Kuti. Classic Nigerian horns and keys combine with Oluko Imo's Caribbean-influenced guitar and Fela's virtuoso sax solo, bridging the musical gap between Lagos and Port of Spain.A1. Oduduwa B1. Were Oju Le (The Eyes Are Getting Red)
Limited white colored vinyl LP pressing. Fela used the cover of Ikoyi Blindness to announce his change of middle name from Ransome, which he now considered a slave name, to Anikulapo, which means Inchhe who carries death in his pouch.Inch The front cover shows Ransome crossed out and Anikulapo added above it. Fela also used the album cover to announce the Africanisation of Africa 70's name, changing it to Afrika 70. In the title track, Fela draws attention to the economic chasm separating the haves and have-nots of Nigerian society, contrasting the get-rich-at-all-costs mindset of the residents of the prosperous Lagos suburb Ikoyi with the more community-minded attitude of the poor inhabitants of the Mushin, Maroko, Ajegunle and Somolu neighbourhoods. Ikoyi residents are blind to the sufferings of less fortunate people, says Fela. Fela returns to the topic on the second track, InchGba Mi Leti Ki N'Dolowo (Slap Me Make I Get Money).Inch In Lagos in 1975 and 1976, there had been an upsurge in police and military personnel assaults on people in the street; motorists were commonly pulled out of their vehicles and given a whipping for minor traffic offences. Scandalously, the police and soldiers were being allowed to get away with corruption in broad daylight. In the lyric, Fela demands that the judiciary administer the law equally, without fear or favour.
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Olatuja is a band, a project, an album full of the uplifting, joyful music of the African diaspora, and a beacon of healing in a divided world. Michael 'Leye' Olatuja first met Alicia 'Lisa' Olatuja when both were students at Manhattan School Of Music. With an A-list supporting cast including drummers Obed Calvaire and Joshua Keitt, guitarists Femi Temowo and David Rosenthal, percussionist Magatte Sow and star pianist Christian Sands, Michael and Alicia set about creating Olatuja - an album that is at once cinematic in scope and intimate and personal in it's message of trust, joy and the power of honest communication.
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