“Aimasiko” by Ebenezer Obey, 1987 – listen here

by Ismaila Tunde Oladimeji

“Aimasiko” (1987) is an evergreen album by Ebenezer Obey that invokes hope for the despairing. Literarily, the album title “Aimasiko” means the ‘unknown time.’ Essentially, Obey explores the theme of hope in the album; the album addresses the economic challenges facing Africa as a continent in the late 20th century. The album essentially contains two tracks described as ‘medleys.’ These are long tracks can be viewed as individual tracks; however, over the course of each medley, and layered on a melodic pattern that is constant, the lyrics/message of the music shift from one thematic focus to another. In the first medley, Obey begins by foregrounding the power of God, and not man, over his life; the message is that if God is in charge of one’s life, then there is no need to worry about the unknown. The thematic focus gradually shifts over the course of the medley to a call to an emphasis on the dignity of labour; thus, even with God’s help, man must put in the hard work in order to be successful. The second medley departs from this emphasis into the groovier depths of juju. In Obey’s characteristic manner of storytelling, however, he still uses the opportunity to teach certain lessons; in this case, he warns the unwary young man against loose spending on a woman who is only out to get his money. ‘Ma se gbara le obinrin odale,’ he warns, which means ‘do not trust a woman who is a traitor.’ As the medley progresses, his thematic focus shifts to a much more emphatic warning to women to desist from crass materialism. 

Ebenezer Obey is an iconic figure of the Nigerian Jùjú music genre. He is a contemporary star with Sunny Ade (LINK). However, the Obey style of Jùjú is different from Ade’s. Obey pitched social commentaries in his songs, and his music focused on high-class urban socialites. Obey’s professional musical career started with his relationship with Prince Olayiwola Olagunju, popularly known as Fatai Rolling Dollars. Obey spent six years in the Federal Rhythm Brothers, a Rolling Dollar musical band.  Here, Obey acquired professional music and musical instruments experience, most importantly Àgídìgbo drum and guitar. In the year 1964, Obey formed a new band named “International Brothers”. Ebenezer Obey adopted the highlife Jùjú fusion style in this band just to rebrand and make his music more popular and interesting. Today, he is one of the major figures within the history of juju music.