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SAHEED OSUPA: It’s Wrong To Say Hip Hop Has Taken Over the Space Of Fuji Music

 

A music legend by all standards with a career spanning close to 40 years and a catalogue of over 40 albums, Fuji music maestro, King Saheed Osupa, discusses with YUSUFF ADEBAYO about the state of Fuji music in Nigeria while reminiscing on the much publicised rift between him and his contemporaries.

 

How does it feel to be the King of Fuji Music?

I’d say I glorify the Almighty for His unending grace over me, my sincere appreciations to the Late Alhaji Sikiru Ayinde Barrister and my fans all over the world for their unflinching love.

 

Your father, the late Moshood Okunola, was a ‘were’ music artiste. How much of his personality and artistry influenced your decisions to venture into music and do the sort of music that you do?

I started Fuji Music at a very tender age. At that time, I didn’t know my father had ever been into music because I grew up with my mother at Ajegunle Apapa Area of Lagos. I got to know this when I tagged myself a new stage name ‘Osupa’ which fortunately coincided with my father’s stage name. Thereafter, his advice and words became a guiding light through my musical journey. So, his role in my career can’t be overemphasized. I can comfortably say music is hereditary in my family as I equally have sons, who do Hip Hop music in the US.

 

You’ve witnessed a time when musicians were treated with disdain up to this moment when music has become gold. How do you feel about this evolution and the plaudits being accorded to Fuji artistes now?

This trend of change in status is as a result of hard work and persistency in creativity and support by Dr. Sikiru Ayinde Barrister and Alhaji Kollington Ayinla and their relentless effort on their own part to improve and promote Fuji music. They truly effected the needed change. And to day, Fuji Music artistes are invited for concerts, carnivals, government functions and other high-profile engagements. And we haven’t deviated from their standard.

 

A few years ago, it could be said that Fuji was one of the topmost music genres in the country. That exactly can’t be said about the genre right now. The preference in sounds has evolved. What is your strategy? How do you keep atop of your game with this constant evolution?

Fuji Music has always maintained its trend. It’s not correct to say that Hip Hop has taken over the space of Fuji Music. Take a deep look; we perform side by side in different events and occasions from Lagos Fiesta, Countdown, campaigns and ceremonies. It’s noteworthy that there are other styles of music but Fuji wouldn’t have found its way if not for its uniqueness and dynamism. Perhaps I will say Fuji Music has redesigned music generally in Nigeria. How do I mean? Most hip hop artistes today prefer to deploy Fuji lyrics and rhythm as ingredients of their music. In fact, I see most of them as Fuji Hip Hop artistes.

 

What do you say then to a situation whereby a Fuji artiste puts in a lot of work but doesn’t get the same level of commercial success and recognition as current pop music artistes? I mean your 2013 album, Capability, was 45mins 12 seconds long. 45mins of contemporary pop music will make an album and a half, if not two. How do you reconcile this?

In recent times, if you take a look through my discography, you will realise how I’ve improved on my various albums through rigorous research and innovation to stay atop my game. That was what prompted me to release a Hip Hop Album (Hip Fuji). And it was well accepted because it was a load of messages and morals. All that effort was to redirect the content of Hip Hop and recharge Fuji Music.

 

Let’s look back at the bickering that happened between yourself and fellow Fuji artiste, Alhaji Wasiu Alabi Pasuma, in the last two decades. In hindsight, how necessary do you consider all of that to be?

It is important to set the record right and straight. Our music is different in terms of content and percussions. So it would continually take more time to pass the message. Apparently, we have our different fans. For anybody who wants to do Fuji Music, he must build him/herself around the fans.

 

So were the fans the cause of the problem here?

Hmmmmm!

 

What do you say to people who believed that the fights were concocted by both of you in order to sell records?

My brother, sometimes, one needs to react appropriately if your effort is being impeded. Now, I have my space, all things being equal. So no disputes or rancour anymore in the Fuji House and peace is our watchword.

 

What is your relationship with Alhaji Wasiu Alabi Pasuma and KI De Ultimate right now?

You see, myself and Pasuma have always been good friends from the outset. Conflict of interest is inevitable in all spheres of life; asides that, there is nothing so personal between us. So, we’re all good.

 

You’ve had a number of face-offs with some bigwigs in the music industry. Do you have people you consider friends among your con-temporaries?

 

Pasuma is my long-time friend and K1, the Mayegun of Yoruba land is my daddy, brother and a senior colleague, who over the years has earned my respect. We’re all good now, Fuji house! A United house!

 

You released an album titled ‘Non Stop’ in 2018 and described it as a Hip Fuji album. I believe it’s an attempt to market yourself to the younger generation; Fuji mixed a little element of pop. For you, what was the significance of that album?

Truthfully, I tend to achieve three objectives with that Album. One is to prove a point that I’m a protean artist that can dynamically do good Hip Hop and all kinds of other music. Two is to redirect the content of that kind of music with good messages and vibes instead of lewd songs. Three is to make it attractive to the younger generation. In fact, I am coming with another bang. It is a collaboration between me and Atorise. There you will see Osupa in a new dimension of artistry.

 

You’ve worked with pop producers like K-Solo who produced Vanakula and African Beauty for you. You also collaborated with another pop artiste, Seriki. How was the experience of working with this younger generation of pop artistes who perhaps might have been influenced by Fuji but are into a different genre of music entirely?

These guys are brilliantly talented and I learnt new things from them and I appreciate our collaboration.

 

Are you happy with the state of affairs in the Fuji music industry right now?

There’s always room for improvement, we are poised to improve on our grey areas.

 

Do you and others who do your kind of you feel threatened by the diversion of audience from mainstream Fuji to relatable pop music?

Not at all, my fans are die-hard. That’s why I pledged to continually do my best for their taste.

 

Talking about taste, we are increasingly seeing a departure in the taste of music among younger generations from what is considered grossly local to a refined blend of music. In view of this, what do you consider the future of Fuji music?

My kind of Fuji Music is evergreen. And it is originality that makes it stand out. The future is actually bright.

 

So, who among current Fuji artistes will champion the cause of actualising this bright future for Fuji music?

Wonderful question! We have a crop of them doing tremendously well and they have the prowess to occupy the next phase of Fuji Music. I am equally doing everything to motivate them.

 

You’ve had a successful music and acting career by all standards spanning over 40 studio albums and more than 30 films. What’s next for you?

I’m currently working on another never-seen-before album. So, just watch out!

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