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Download Ayinla Omowura 39 Years After The Death Of Apala Prodigy mp4 download free video

Ayinla Omowura 39 Years After His Death ON May 6, 1980, leader of a Yoruba genre of music called Apala, which had quite a sizeable number of cultic following, was stabbed to death on the head with a beer glass cup in a barroom brawl at Itoko, Abeokuta Ayinla Waidi Omowura, son of Yusuff Gbogbolowo the blacksmith and Wuramontu Morenike, had finally been killed by the scary black club of Death which he had sung sarcastically about in two previous types of vinyl he did before his death He died before getting to the Ijaye General Hospital, Abeokuta On the day Omowura released each of the 20 albums he did for EMI, the company recorded at least 50,000 copies sale It took a few weeks after before fans could come to terms with the departure of a man who to some was the enfant terrible of Apala music; who, with an admixture of a quartet musical instruments of Sekere maracas, akuba, Iya-ilu and agidigbo, attacked societal ills in his characteristic acidic tongue Omowura, though illiterate, projected the image of an ombudsman to the oppressed Born in 1933 in Itoko, Abeokuta, Omowura, as early as when he was in his teens, was said to have been apprenticed to his father’s blacksmith trade Unconfirmed sources said that while growing up, Omowura interspersed this early childhood vocation with acting as a political thug to some politicians of the time He was also said to have once been a driver By the early 70s, along with other Apala prodigies of the time like Haruna Ishola (who reportedly invented the genre), S Aka, Ligali Mukaiba, Yusuff Olatunji, Kasumu Adio, S K B Ajao-Oru, Fatai Ayilara, Ojubanire Ajape Saka Tewogbade and others, he had successfully transformed not only Apala but his fortunes as well, into a genre of music that was not strictly the pastime of the Yoruba lower class as it was hitherto perceived He recorded 22 albums Omowura held society spellbound by his song, occasionally infusing his Egba dialect as a musical motif, delivered in a rich voice that was perhaps accentuated by his rumored passion for cannabis In his social critic garb, Omowura was the scourge of the then emerging fad of women bleaching (Volume 15, Oro kan je mi logun) where he compared, sarcastically, the body of a woman who bleaches with that of the frog and wondered why the white man does not, comparatively, flee after the black skin His songs were also the nemesis of ladies who changed husbands’ houses like a chameleon changes color (Pansaga ranti ojo ola) where he espoused the concept of the Onibambashi — most likely a barroom argot — classification of such women Paradoxically, Omowura was said to be the toast of married women beer salon operators in his Abeokuta and Mushin homes and on several occasions, had to engage their husbands in physical, as well as musical scuffles to assert his supremacy One of such was his justification of women running beer salons in his Oro mi dori o dori track which became almost a national anthem for fans of this bohemian Yoruba musician In a very scurrilous attack which made him and his song almost like leprosy to feminists for his perceived anti-women biases, Omowura attacked societal malaise and projected a high moral universe He sang with authority of being in possession of musical inspiration and mastery of his trade that verged on blatant arrogance He tells his competitors, for example, that until the weaverbird gains easy access to the liquid inside the coconut pod could any one of them attempt to outshine his genius and that he is the alujonnu elere (musical gnome), having surpassed them all The high point for Omowura, who sang on virtually every domestic dislocation of his household, was in the late 70’s when he bought a brand new Mercedes Benz car For this, a track entitled Merzi tun de, heralding the arrival of the musical behemoth on the music scene graced one of his albums and, of course as usual, coated with a caustic diatribe against his enemies who thought he had reached the twilight of his musical inspiration As a commentator on issues of the contemporary society, Omowura reeled out innumerable tracks either commending government policies, excoriating bad ones or warning society on ills strung round certain governmental and individual acts In E fara m’Omobolaji, Brigadier Mobolaji Johnson’s tenement rate policy in Lagos state received his dissection and applause He enjoined Lagosians not to kick against this laudable government policy but give support to Johnson and didactically, detail by detail, tutored his listeners on the process of the payment of the tenement rate In another breath, Omowura sang about the 1976 Udoji salary increment (Vol 7) and like an informed commentator that he was, urged that the largesse be extended to the private sector (e je ka san’wo Udoji na fawon private companies) His view of a musician was one who fully participated in the cumbersome process of dialogue and interrogation of the complex situational i

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