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By Ayinde Mosadi


Sequel to the serious attacks against the domination of the new music and its progenitor as a result of inter/intra-genre supremacy, in the long run, the victor beckoned to the former. Not only the story of inter-genre envy but also intra-genre rivalry of supremacy among the Fuji artistes of the 70s. Although in position, it was yet non-debatable that SAB’s generalissimo was sacrosanct. Fuji music in the 1980s had been an epochal stride for unrivalled popularity of the genre as also accompanied with incessant seniority and leadership tussle. It was the aura of the influx of new entrants, in this coterie were those that had never practiced the real raw WERE and of course, were not the subjects of the pre-existed diabolical attacks of pre-advent or inception of Fuji music. It was susceptible that fuji had garnered sizeable enemies for itself especially from the triumphant perspective of fuji over its senior genres. The petty-jealousness that ensued in the early 80s among the fuji players were much triggered by the practitioners of the other genres whom many were even seniors to SAB. This argument was reflected in the very first cold war of rivalry after WERE between SAB and his musical friend (GKA), who was invited in the first place by the former to join him in the Fuji struggle at early stage.

During the musical fiasco between Ayinla Omowura, one of the Apala war lords, and SAB the Progenitor and Propagator of Fuji Music, instead of joining SAB to defend the nascent fuji, GKA had out-rightly taken the side of Omowura against his co-genre Musician (SAB). Hence there were so many stormy intra-genre rifts among the Fujicians in the early 80s. The sizeable some were musically attacking GKA believing to protect not only the nascent fuji music but also to defend its Progenitor (SAB), on whom most believed would be their ladder to the top. This insinuation of SAB backers was more calculative, aside from being unarguably the generalissimo, the latter’s unprecedented stride, not only for his invention but also for survival of the nascent music, was also a yardstick. Among this coterie were Wasiu Ayinde and others that were just gotten their foot on the pedestal of Fuji music. Hence SAB backed most of these infant Fujicians to survive the then diabolical onslaught to the extent some of them imbibed “Barrister” as their means of survival.

It is still evident in the triumphant of some them that patted on the back of SAB then as being in the fore in the present fuji control. However, some that were also taken the same path with GKA were mostly perceived as the Agents of external Artistes. Most in this group were the by-products of envy and rivalry among the earlier WERE Practitioners who also saw SAB progressive motion as intimidation to their career. The genesis of success story of SAB since he resigned from Soldier to face his pet project (Fuji) squarely is still the epicenter to the success of any Fuji Artiste till date. Barrister became Al-Hadji in 1972, built his 3rd House (Fuji Chamber) in 1981, European Tours from 1978 as well as unequaled popularity, are still the directional route to stardom for any Fuji Artistes. In this 80s were the likes of Wasiu Ayinde’s first hit record (Talazo 84 and 85), after his earlier first record (IBA AGBA in 1981) where he serenaded SAB as the Creator of Fuji. More so, many hit records of many Fuji Musicians in the 80s contributed in no small to the gradual edging out of the JUJU Music even in the wake of the eventual Afro-Juju.

Apart from the earlier Fuji Raggae, Fuji Funky and others prior to Talazo, post-Talazo hit albums include IjoYOYO and others but no any Musicians album(s) surpassed the Fuji Garbage especially the Series 2. Apart from some earlier WERE practitioners who were still reining then, Fuji industry ushered in more new potentials. The arch-rival to Wasiu then was Saura Alhaji but was among those vanish with the Oke Gbemi scenario which some people believed propelled Wasiu to the fore. Others that famed in 80s including the SAJE Exponent (late Lati Ilori), very popular then but didn’t wax any record, Sir Shina Akanni, Rasheed Ayinde, Adewale Ayuba, Sulaiman Adigun, Wasiu Ayinla Karashi etc. However, the domination of Fuji music was foothold because it had taken the place of Apala and Sakara popularity. Perhaps, the death of many of these brands Practitioners such as Haruna Ishola in 70s, Ayinla Omowura in 1981 and others contributed in no small to triumph of Fuji music. The only external challenge left in the 80s, that could be mirrored by Fuji, was Juju music for it was more of International brand than some other genre then, and its Players such as Ebenezer Obey and Sunny were equal to task.



Fuji music in 1990s took another dimension when the competition for relevance against the Status-quo pervaded the aura. Despite prevalent stardom of Fuji, the hitherto rivalry was yet unabated but the time was more of inter-generational relevance. The time imbued another revolution in the Fuji sphere when the old folks had been drag-footed to imbibe infusions of the new entrants whose vigours connoted funkier rhythms. Although, it was more feathers to the cap of SAB, that had all along been a lone ranger in the globalizing his pet-project (Fuji) through several voyages abroad. As the new order emerged under, the exposure of Fuji escalated though, some unwarranted features still remained. Although, the new entrants in a means to gain stardom were also followed the only directional path pioneered by SAB like struggling to go to Mecca, Abroad, building houses etc. Aside from GKA, who was next to SAB in seniority hierarchy, that had earlier in the 80s followed the suit of SAB, others’ were happened from 90s including Wasiu’s.

This phenomenon culminated to typical reforms that precipitated the refined flavours to carve a niche for self-esteem among the players. Even though the older figures were still maintained their seniority, emergence of Classical, Bonsue, Asakasa, Orobokibo was a foot dragging to the status-quo. Hence, recently easier currently for the hip hop Artistes to blend Fuji to their music that could not had been possible earlier. The SAB-GKA rivalry permeated through the 90s and beyond as the new entrants also emerged with the same pattern e.g. Wasiu Alabi Pasuma vs Saheed Osupa. Since the beginning of Wasiu Ayinde musical voyage, he had not been engaged in serious rivalry with any Musicians except in the 90s when he believed he was independent and super. The one with his pioneer rival, Surajudeen Alamu (Saura) and with others then were not that underscored. In all the battle that would have capable to stuck Wasiu Ayinde on his way to stardom were always, on his behalf, waged against by SAB to protect his anointed prince of Fuji. Example of this gesture by SAB was the spiritual lyrics (Oke Gbemi) of “Oke gbemi, okuta were were o, oke gbemi…” by the latter. However when the anointed prince confronted GKA earlier, the story was not the same as the former voice was seized to the extent of vomiting blood if not the rescue of his Boss, the great SAB who had been clearing way for him.

In the nineties 90s, despite the hitherto edge of SAB and GKA in that genre, there were hit records like Bonsue, Serubawon, Asakasa, Orobokibo, Classical etc that pervaded the musical air waves then. They re-shaped and made inroad to the fuji music though built on the existing foundation. Invariably, SAB who had always been known to have been waxing the evergreen Albums was still sustained the tempo with the several hit records like Dimensional fuji, Fantasia fuji, Precaution The changes, at least in every decade, to the music industry and its players as also to others endeavours, did not anytime affected SAB and his trend hence his rivalry sways till his demise. Although GKA’s achievements had also been bumper to bumper to that of SAB, he came immediately after SAB, almost in everything in the industry, second to travel abroad, second to win PMAN award after SAB had earlier won same twice. GKA, like SAB, can also vouches on several hit records especially from his second album that lyrically sound alike with SAB’s Volume 3 (Abode Mecca) through to the late 90s, when Ijo yoyo that fetched him (GKA) PMAN award, Mega star, Ropopo and others that shook the then fuji music society.

However in the 90s, SAB-GKA rivalry was a bit subdued due to the change in the genre, Wasiu seized this opportunity to have developed idea of replacing the hitherto role of GKA in the genre. It was this time Wasiu stripped off his adopted nomenclatural appellation (Barrister) to have re-baptized himself as Marshal. This followed after SAB had succeeded in wading off the Wasiu’s rivals in the 90s. On the new appellation, Wasiu was said to have outsmarted his boss on the title (Grand Marshal of Music) given to latter by Man ‘O’ War of the University of Ibadan in March 1990. So also the perspectives of kingship lobbied and eventually stage-managed to get crowned by countering SAB who had earlier been crowned King of Fuji twice (1975/1976). According to the source, in some of the Wasiu Ayinde’s 90s albums and as also portrayed in his attitude were, indirect attacks, directed to up-turn/outshine the unabated influence of his mentor (SAB). Example of this assertion is a song in K1’s Fuji Collection in the early 90s, where he sang “Mi oba torogun w’aye, ema f’ejo min sunka, ema f’ejo mi sun eke, ema rojo min f’eniti oferan mi…” However, as K1 was/is challenging his front so was/is also being challenged from back. In mid-90s, he had to combat a serious rebellion orchestrated by his juniors, spearheaded by Obesere who featured others like Pasuma, Sandoka and co. Though, many later surrendered like un-succeeded Coup Plotter in the Military. However, up till the moment, Obesere is yet an avowed enemy of K1 and said would continue to be as long as the latter carrying about his pride and mischievous character.


Fuji music in the Millennium (2000s) was the continuum provocation and intimidation especially to the old players. It was the very first/noticed time of political incursion to the Fuji in the instance of sustaining the dominance and struggling for relevance among the players. The time coincided with the formation of Fuji Musicians Association of Nigeria (FUMAN) and other touches to the growth of the genre while the envy and rivalry was still subsisting. The fourth republic incursion accompanied socio-political influence for Nigerian music. Because, Asiwaju Bola Ahmed Tinubu, as a Socialite cum Political generalissimo in the South West politics since the beginning of the present (Fourth) republic is impacted on the new order. In as much as Fuji that started, and still most popular, in Lagos, Senator Bola Tinubu’s factor appears large not only on Fuji and its practitioners but on all other genres in the region (SW). Despite the continuum challenges here and there in the 2000s, the new political game was still in the direction of SAB and for his influence to swell. Because in this new voyage, SAB would never be under-estimated due to his unequal rapport with and access to Tinubu and other strong politicians like late Adedibus, Osobas and many others in the region and any other part of the country.

Barrister found this as child’s play as he had earlier been the darling musician to the powerful politicians in the country since the second republic surfaced. SAB was hooked and used to play for the then politicians like the former President Shehu Shagari, Dr. Sola Saraki, Maitama Sule, Adisa Akinloye, MKO Abiola among others. In the 2001 when SAB’s mother, Hajia Sifawu Odee died, like other dignitaries, Asiwaju Tinubu did not only usually present with his wife, Oluremi Tinubu till the 8th day fidau, he also contributed immensely in cash and kind to make it a colourful for his bereaved brother (SAB). Further testimony to SAB’s would-be edge was heard from Asiwaju’s 60 years life narration that, if not SAB who instructed him to further his education, he would have ended up following Ayinde Barrister. That shows the influence of SAB in Tinubu’s life, like many others that are yet to openly acknowledge this man called SAB.

In 2000s, precisely 10 years before his demise, SAB had mapped out his retirement plan from secular lyrics to Islamic propagation (see details in Dayo Odeyemi’s My Memoir 2016, page 164). This couple with other factors like his perennial sickness mellowed down his active voyage in music but despite that, his musical leadership prowess and meteoric control of fuji was still sacrosanct till his last breath. Barrister till his death was simply an unequal authority to his genre as also the important to the Nigerian music generally. The 2000s was the era of Kingship tussle among the players as the kingship and related titles dominated the time. The first Kingship story in the early 2000s was the crowning Suleiman Malaika as King of generation (2003), followed by Saheed Osupa King of Music (2007), and later Akande Abass as the Paramount King (PK1) in 2008. It was a ruse to some of their colleagues and did not go down well with K1 who saw and still see himself as the final King in the genre as his appellation implies, K1 de Ultimate. The Kingship issue and Otunba title, audaciously given to Pasuma by K1, was suspected to have been the orchestration of cold war that then existed majorly between SAB and K1. This re-ignited internal wrangling among the ranks and files of the fuji players especially at post-coronation of Osupa by the authority himself (SAB).



The death of SAB the great was broken to the world on the 16th of November, 2010 after his prolong sickness. This was the beginning of fuji sobriety that the overtaken of fuji by Hip Hop like other pre-exited genres could never been achieved when SAB was alive. Because he always jealously cherished his pet-project (fuji) and relentlessly safe-guarded it amidst the other competitive genres especially the onslaught of Hip Hop and the likes. One of his tactical rescue missions was to neutralizing the onslaught was integrating with the Hip Hop Artistes through duets and private. Though already started the moves according to his PR (Mr. Odeyemi in his my Memoir), when SAB invited his nephew Kunle, a great Rapper from Kaduna to duet with him. Believe of SAB for this is not far from the popular conception that Hip Hop is a rave of the moment which stand the test of the time. However the death cheated on him to avert the moves before the accomplishment of what he had earlier started with 2 studio sessions.

Perhaps, it is now glaring to these Fuji Artistes that the death of SAB was not only a great loss to them but a greatest damage to their source of income. Because the man was just unarguably the shield under which all of them hide from the brute of onslaught of the other genres as witnessed today in the wake of Hip Hop and its practitioners. Some of these Fuji Musicians accepted that the post-SAB brought a sober reflection. Some even now openly confessed their earlier sins against the man that worldly believed is the Creator of Fuji by trying to erase those mistakes. However to the few who perceived the existence of SAB was their threat, November 16th 2010 began unreasonable freedom for them. Nevertheless, the milieu of intricacies would continue to exist as long as denial of the genesis and foundation is persists. The purposive trait and definitive concept of the Fuji music that had always been set apart are still reflecting the dramatis personae of Protagonist(s) and Antagonist(s), even after the SAB’s demise.



Fuji started with the SAB’s intuition to seek alternative means of becoming great in life. It was birthed to the surface of envy and jealousness of the pre-existed genres. The music generally thrives from the aegis of disrespectfulness, vulgarism and abuses, quarrels and hatred. Similarly, in the Fuji music which more indigenous to Nigeria was full of this intricacies. In this regard, leadership tussle and ambiguity in the creation of Fuji are the creation of the following factors:

Barrister’s kindness and diplomacy: Protagonist in this work is SAB who started his musical career from WERE at the tender age of 10, in 1958, yet competed with the old colleagues, who were his seniors in age and in that genre then. Ayinde was then a sought after because of his unique voice, Quranic knowledge, humility and several other unique talent. This made him to have usually trounced some of his seniors during competitions to carve a niche for him. The envy and petty-jealousness neither perverse SAB’ rising profile, nor his creativity to midwife the new genre called Fuji. SAB trained and nurtured numerous colleagues and juniors alike who later join him for fuji to become co-piloted in order to surmount the turbulence of the other genres in the 70s. Some of who practiced WERE that later became Fuji Musicians passed through the tutelage of SAB. He trained them on the new music system in the air waves. Barrister had to blend the voice of his friend (GKA) to the new genre (fuji) so also Amao Barrister and Aremu Barrister.

After his first record waxed in Apala in 1974, GKA paid homage to SAB in the second record waxed in Fuji though called the latter his AWO or friend. Truly both of them were friends and colleagues and love each other since the time of WERE despite the three years seniority by SAB. Those times, Barry did not ever revealed the age difference but hitherto declaring seniority and originality to himself for record purpose while never an iota of counter-argument from anybody. Envy and rivalry unleashed by the pre-existed genres via their practitioners was part of the foundation which the crisis of fuji creation build upon. Majorly, fiasco of Ayinla Omowura, Orlando Owoh and rivalry between SAB and KSA in the late 70s wouldn’t have far from GKA’s influence to start countering authority of SAB on Fuji creation. That was the beginning of distorted history because of envy and petty jealousness started by the SAB elders that GKA was later instigated of. And this generated a lot of havoc to fuji music as the argument started to go in divisions line. Despite the earlier claimed friendliness of the duo, the rivalry ensued to the extent that GKA was absent at the SAB house warming of Fuji Chamber in 1981. More often than not, the altercation had prompted SAB to re-affirm his creation of fuji and also to always attenuate the GKA and his co-travellers’ limits, for them to know their limit.


SAB diplomacy to fuji issues sometimes resulted to his ridicule. Because he believed his pet-project (fuji) should be protected and globally developed hence his lenience to some barrages and insults mostly from the Practitioners of what he single-handedly invented. Surprisingly in this coterie also involved SAB’s Trainees and Beneficiaries who ordinarily should be his back-up in any confrontation. Among the SAB’s abducted musical Sons, who are also his Beneficiaries are Iyanda Sawaba, Tajudeen Alade, Wasiu Ayinde who out of the SAB several apprentices is still the successful by-product of this Legend called SAB. In the 80s when engagements were so many for SAB to the extent that he should have feeder’s bands, Sawaba, Wasiu and Taju Alade were favoured. However as time passed-by, it was only Tajudeen Alade that really satisfied the main pursuit hence SAB focused on him than Sawaba and Wasiu. This prompted Sawaba and Wasiu to part way and staged abusive song against their Boss at Liberty Stadium in the mid-80s. During the time, Easy Sawaba also high-jacked the SAB’s Drummer (Ayansola Kamoru) who was nursing whooping cough, but regularly visiting abroad for treatment, courtesy of SAB. But was helpless under the new Boss (Sawaba) to continue the treatment and later resulted to another story. Wasiu’s song that time, “Won lo y’ogbeni sinu foto won fin ‘polowo…” and K1’s Ogbeni reference then was Tajudeen Alade who was the head of the most adored feeder’s band of SAB. The abusive song was said to have been directed to his benefactor though, K1 later prostrated before the public on the SAB live play stage in Osogbo for forgiveness.

Barrister had open-mind thus people, like late Chief Afolabi Ogo-Oluwa record, in Bye Bye to Barrister video CD, alluded this to his early death. He quickly forgave as he always did to Wasiu Ayinde for certain reasons. SAB believed Wasiu was his most pronounced legacy who he opportune to back from cradle to crown and he said this in his several interviews. More often than not, Barrister did settled the rancor in-between Wasiu and any other Fuji Musican(s).  Example of this was when SAB called Obesere and Wasiu to his house to settle their rift knowing Wasiu would eventually be at the receiving end. Some of Fuji Musicians that Wasiu Ayinde offended feared to attack him largely due to Barrister’s factor. When he (K1) was crowned by his friends at NTA Ibadan, he sensed it would boomeranged, he quickly appeased to SAB through the latter’s Friends and Barrister not only agreed but professed him as such. Despite that quick action taken by him, K1 was still attacked on the issue by his colleagues who felt was effrontery to SAB and Fuji. Adewale Ayuba was one of those criticized the action in his several live plays then, he sang, “…egbon on fonbu o, omole ijebu on fonbu o, b’Oba kan oku o omin ogbudo je, Ayinde on fonbu o.” The same to others who believed it was derided action, however, when SAB agreed and GKA also kept mute, they quickly recoiled to their shell. This was emphasized on during interview of Alhaji Fancy Aye Alamu, on the recent Fuji creation palaver that when Wasiu was crowned King of Fuji both SAB and GKA did not talk.

Barrister’s creature, his rising profile in the music industry couple with the success of Fuji music amidst the other genres, was the genesis of the SAB’s hitherto frustration. The man astuteness in life garnered too much enmity for him. Enmity unleashed by the elders from other genres had led to instigation of unhealthy rivalry against him. It started in the late 70s by his fuji colleagues and this also influenced most of his beneficiaries against him. Despite the largesse of car gift to his band members after the opening of the Fuji Chambers, SAB’s third house, in 1981, the same band members parted way later. The reason is that some of his beneficiaries believed that the SAB rising profile is more diabolical that would accost them impoverishment. They exemplified this different stories, from Omowura’s death, to accident saga occurred to his parted band boys, that left only one of them alive when they were travelling to attack SAB spiritually. This insinuation was also believed by his direct beneficiaries and close allies, GKA and K1 inclusive. Abass Obesere, in the mid-90s, once refuted K1 on this that the latter severally advised him not allow SAB to bless him otherwise his fame and fortune would vanish. However, in exposing God’s favour on him, SAB once told his PR, Mr. Odeyemi, that nobody can not articulate evil plan against and scot-free as never cursed or do any evil against anybody talk-less of going to herbalist to seek spiritual attack on his adversaries (My Memoir, page 147).

Rivalry and indifferent attitude of GKA: This genre (Fuji) would have been founder during its musical voyage amidst many other thunderous storms of other genres. As a young sojourner and a lone ranger, SAB surmounted the orchestrated storms of other platforms by his Creator who created him to further create Fuji. From the inception, SAB had actually been faced the titans in the industry which some researchers believed caused by the petty-jealous to the musical soar of SAB. Apart from the likes of Saka Olayigbade before he started his professional musical career, he combated with Ayinla Omowura, Olando Owoh and others. However after he settled the inter-genre scores to have become victor with his pet-project (fuji), that prompted most of his mates and juniors during Ajiwere later to join him in the 70s because of his success story in the new genre. Example is his hierarchically closest, GKA who was persuaded by SAB to leave Soldier for the new music he created out of the then epileptic WERE music. Soon after the genre had become co-piloted in the 70s, most of the trounced elders from other genres instigated SAB’s co-players to defy his authority by challenging him on who created Fuji music. That was how the creation of fuji had become ambiguous till the moment though, the fact is still glaring because it is a researchable matter.

Immediately after the SAB death, GKA granted an interview we he unveiled the secrets that all the fuji Lovers and society in general wanted to know about. The interview dwelled much on the SAB and GKA relationship so far. GKA confirmed and regretted that it was competitive rivalry that turned his earlier friendliness with SAB to fiendlike. He also confirmed the SAB’s seniority in age, with three years, and in music. Sometimes ago, in another interview, GKA decried disrespectful attitude of K1 in which he warned that the latter should not kill him the way he did to Sikiru (SAB). Hadn’t been GKA had not been poised with petty-jealous to often counters his friend (SAB) earlier on the issue, it wouldn’t have generated to his lately molestation in the hand of K1. Latter who believes after the death of SAB in the fuji music, nobody can pose a threat to attain the position of generalissimo not even GKA. That perception cannot be far from accuracy owing to the hitherto indifferent stance of GKA to SAB struggle in putting fuji to proper shape. With the demise of SAB, GKA has re-birthed to correct his earlier mistakes, though still indifferent to the development of fuji. However, his (GKA) recent outburst and clarification would still be weighty to redefine him for future reference, because he is part of the variable to be studied.

K1’s Pride and Over-ambitious tendency: Factually, at the moment, among all of the SAB’s Musical Sons and other Fujicians, K1 was the most favoured and triumphed on the basis of love that SAB had for him. K1 started his Musical career under SAB, no evidence that he was also practiced WERE before the advent of Fuji like Iyanda Sawaba, Waheed Akangbe, Saka Danfo, and others that were Juniors to SAB and GKA. All the fuji historians confirmed that K1 was a Parker under Barrister Organization before started his own in 1978. Alhaja Sadiat Anifowoshe, K1’s mother, in an interview, narrated how her son usually eloped to SAB and brought back by the family several times. She went further that until the divination instructed them to leave him with Barrister, the family was not earlier happy for their son to follow or become a Musician. History was confirmed what precipitated the early departure of K1 by the present Olubadan, Oba Saliu Adetunji, in one of the SAB’s death’s video clips, that the former lost SAB’s Microphone. Olubadan explained that K1 sought his help to plead to his boss (SAB) who rebuked him for misplacing the Microphone but on getting to SAB, instead, the latter prayed for him and refused to collect another one from K1. In his several narrations, K1 also acknowledges SAB accommodated him, fed him and did so many things in his life.

Appellation of Barrister adopted by Alhaji Wasiu Ayinde to aide his brand in Fuji career as some even said Wasiu’s cognomen was Ishola, not Ayinde he still answered to. The Fuji Prince was allowed on him as anointed and loved godson to the then Fuji King (SAB). In his first record called IBA AGBA, where he copied SAB’s record (ABODE MECCA), Wasiu serenaded SAB the “…Fuji Creator mi omo Agbajelola” and his other actions proved same. When Barrister returned from UK in 1981, Wasiu was among the numerous people that welcomed him receptively in the Lagos Weekend paper of Friday September 18th, 1981. In this paper, “The Fuji Prince, Alhaji Wasiu Ayinde Barrister and his Fuji Organization congratulate and welcome the Fuji King Alhaji (Chief) Sikiru Ayinde Barrister and his Progressive Fuji Commanders back home after a successful tour of the Great Britain. Wasiu also confirmed that “Alhaji you are the Oga patapata no doubt about that”. SAB backed Wasiu like a mother stripes her baby to the back around as the former always prevented the latter from any attacks on his way.

However, because of pride and over-ambition, K1 later dropped SAB traces to him except the cognomen, Ayinde. He first denounced Barrister when he thought he had crossed the Rubicon of success in early 90s. He joined those who envying SAB on the latter achievements and as being manifested in his actions and utterances. Every move of Wasiu was then suspected to be against his erstwhile Boss. All the songs, “America ton seb’a nile lo, alo abo, aobomoje.’, ‘…Ema fejo min sunka, ema fejo min s’eke, ema rojo min feni tio feranmi…” in his 1990’s American Tips and in Fuji Collection and sorts were said being referred to SAB. Traditionally, community has only one King but reverse was the case to the Kingship of Wasiu Ayinde, organized by his friends in 1993 at NTA Ibadan when SAB was very much alive. Some people analyzed it as an effrontery not only to SAB but to the entire Fuji Kingdom. Apart from copying the musical works of SAB, K1 used to replicates or pilfers his boss achievements to his side. When Barrister indisputably had honourary Doctor in the far US, Wasiu was also quickly became Doctor, the same with so many traditional chieftaincy titles. Imagine, the only person that never, up till now, addresses Barrister as Mr. Fuji among the Fuji Musicians is Wasiu Ayinde, the title that even usually flows from the lips of GKA, the SAB assumed arch-rival.

However SAB lately regretted his earlier actions on Wasiu basically in the 2000s, when the latter had reached crescendo in effrontery to his supposed tin-god. Apart from earlier insubordinations, Wasiu tactically challenged the SAB’s claim of creation of Fuji in his Flavour record in the mid-2000s where the former put the latter in number 13/14 in hierarchy. The story, according to Mr. Odeyemi’s My Memoir page 138-139, caused SAB to weep publicly after his rapt listening to the record. The tactics was meant to assume generalissimo position when discredited SAB, whose he and his achievements are unequal and threat to him (K1). Going by insinuation, this was one of purposes that Saheed Osupa became the King of Music in 2007, which is higher than the pre-exited King of Fuji. Even though after he coronate him as the King of Music, during the settlement that degenerated from Osupa Kingship, he warned Osupa not to rude to Wasiu Ayinde.

Continual effrontery to the SAB’s legacies is no longer condone aftermath his death. Because, Barrister’s influence, legacies are unequal and larger than any of his adversaries would expected. The issue of Fuji Creation is a researchable matter hence can never be manipulated, neither SAB narrated stories or anybody for that matter. The evidences are there to arrive at accuracy of the findings without distortions of the matter in question. So far all the 13/14 people mentioned before SAB in Flavour record had never waxed any record called Fuji before him except Sakara, Awurebe and all sorts. Barrister had hitherto addressed and being addressed as the Fuji Creator by Wasiu Ayinde and others without disapproval from anybody until recent time. Since this argument surfaced earlier and re-surfaced on the 2nd March, 2017, we couldn’t hear any WERE Elders, who were seniors to SAB in that genre came out to debunk the latter’s argument. In as much as some of them were alive then SAB was alive and now that the case re-surfaced, the SAB’ argument is very genuine and even confirmed by other Fuji and non-Fuji Musicians and no iota objection from any reliable source.

In this case, the sizeable Fuji Musicians who did not only confirmed SAB as the Creator of Fuji but also rebuked that fallacy are the following: Obesere observed in the recent fuji creation crisis that despite that none of Fuji Musicians ever benefited the way K1 did, he has the gut to deride his late boss on Fuji Creation. He alluded that fallacy to K1’s mischievous attitude and incessant pride. Adewale Ayuba also put the record straight that, with research and evidence from findings even from those know than him about the history, SAB was the creator of fuji and admonished that those that have contrary opinions may not have access to the source as being perceived. Barrister is too important to be disrespected because Saheed Osupa heard the undeniable history from his late Dad who was equally one time Ajiwere and suffice for him that SAB created fuji. This confirmed further by Suleiman Atawewe, whose father was once a Drummer to Wahab Ilori, one of K1 senior in Fuji music and also affirmed it by those ought to have known the story better that nobody except SAB is a progenitor of Fuji.

Tajudeen Ishola (Ashanty) in France always in contention to all the views of K1 to the story since it recently resurfaced on March 2nd, 2017. Sefiu Alao equally supported the truism of the story that SAB created Fuji not Saka Layigbade and co mentioned by K1. The case is the same with Fancy Aye Alamu, Iyanda Sawaba, Saka Danfo, Rasheed Ayinde, Taiye Currency, Safejo Amama among others numerous to mention. Surprisingly, GKA eventually supported this fact that nobody ever sang Fuji before SAB that none of Layigbade, Jolly lawa and co ever sang fuji or created fuji but Barrister. Even to Daddy Showkey, an enigmatic Galala Musician, in his Ajegunle voice, debunked K1 history. Same to many people from other genres that SAB is a confirmed Creator of Fuji but he didn’t create Fuja or Fa’aji as such. The story is the same with the Journalists, Researchers, Academia, Socialites, and others globally because the issue is a public matter that even beyond the subject-matter to distort.  Thus, with that appealing track in Flavour where K1 first addressed it, it is now evident that some people that just dancing to the track are even rejecting the message.



Documentary of the past and present events: For record and future purposes, any fuji-related activity should be documented to avoid recurrence of same/similar crisis in future. It would also serve as archival materials for research on any related issue in future.

Formalization of Fuji Music: FUMAN or any related fuji regulatory body should not only formally formed but also operated with a rule and regulation. FUMAN must be incorporated, law abided, and sanctioning the erring members etc. This would position Fuji to a standard that in turn would increase its practitioners’ fortunes.

Regulation and Piracy Control: The piracy is one of the heinous acts which adversely affecting the fortunes of the Artistes in Nigeria that Fuji Musicians inclusive. FUMAN/PMAN should synergize with other Artistes Associations to form a platform on which to put pressure on the Federal Government to halt the Piracy by outlawing the piracy in the country.

Immortalization of SAB Legacies: To SAB’s Global FANS and FUMAN, as a founder and important figure, SAB should be immortalized in alluring manner so as other Practitioners shall benefit from the arrangement. On this note, it should be supported as somebody recently suggested that SAB must have Chair in Academic arena through Performing Arts or any related Department. Other suggestions like establishment of FM Radio and/or Media Houses here and there. It should also be mooted to Recognition of the Merit Awards such as creation of annual Mr. Fuji Awards and other merit awards like National Merit Award, PMAN Award, Grammy and all sorts to put the Players on their toes by working assiduously to be conferred. To achieve this, all SAB associations, FUMAN and relevant Partners must lobby and sign partnership agreement with the Fed Min of Culture and Tourism to promote Nigeria’s culture under which the Fuji is a segment, to anywhere in the World.


Ayinde Mosadi writes from Ilorin via


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