A regrettable conflict arose between the musical legends, Yusufu Olatunji and Haruna Ishola.
It was an open secret that there was no love lost between Yusufu Olatunji and Haruna Ishola while they lived. One of the pointers was the fact that they never acknowledged each other in their works. Take for instance, the obliteration of each other's names on the roll call of musicians that attended the burial of Chief Badejo Okusanya at Imodi Mosan in 1972 in their hit dirges for the pioneer Chairman of Nigeria Recording Association.
Three things could be said to be responsible for the rift between the two music legends. First, both were leaders of their genres: Olatunji in Sakara, and Haruna in Apala. There would naturally be superiority contest between both leaders. Yorubas call it "orogun owo" (trade rivalry). Secondly, the involvement of Sanusi Aka (Baba Oniwaidi) who was a Sakara player and Olatunji's assumed rival in that genre in Abeokuta but Haruna's pal. And finally, the connection of an Egba elegant stallion and woman socialite, Falilat Amoke Soaga nee Siwoku.
Let's take the point one after the other:
As you know, the Gangan drum came before the Orun'sha drum. Naturally, the leader of a genre in which the Gangan drum was the main instrument (Apala) would feel superior to a genre in which the Orun'sha was the main instrument (Sakara). Suffice it to say that both genres were the most popular commercial musics in Yoruba land back in ages. In other words, ego was the first remote cause of their rift.
Then came the Sanusi Aka factor. S. Aka was a Sakara player from Egba Owu. Like Haruna, he was much younger than Olatunji. He was to cut his Sakara music teeth in the band of Yusufu Olatunji (Baba Legba) but was rejected. Much later, he had his band and set out to rival Baba Legba himself. While other Sakara players deferred to Olatunji, after the demise of the father of the genre, Abibu Oluwa, Aka dared to be different. He took a risk and succeeded. For his courage, he earned for himself a large fan base and followership. Applying the natural law of the enemy of my enemy is my friend, he found a natural ally in Haruna Ishola.
Now to the Falilatu Amoke's connection, which could be said to be the last straw that strained whatever could be savaged of the relationship between Yusufu Olatunji and Haruna Ishola. Falilat Amoke used to be S. Aka's wife and bore children for him. She was reportedly snatched by one of Egba's rich men of their days, Lamidi Soaga. Soaga was one of Baba Legba's known Patrons.
Sometimes in the mid-70s, Falilat's father, Chief Lasisi Siwooku, the Oluwo of Ijemo, died. Expectedly, S. Aka was to honour his late former father-in-law, just as Lamidi Soaga, the current husband was expected to do. Aka saw that as an opportunity to get back at Soaga and even Yusufu Olatunji, having known him to be Soaga's preferred musician. He planned to give them a showdown at the venue of the burial ceremony of his former father-in-law. Only one musician, in his reasoning, could deliver on the assignment: Haruna Ishola. He, therefore, booked Haruna for his circle. He wasn't done. His camp reportedly further planned to kidnap Soaga early that day, so as put his rival's camp in disarray.
The Soaga's camp got wind of the plan and had a counter plan. First, they decided to provide security protection for Lamidi Soaga. Then they thought of having S. Aka's musician, Haruna Ishola, kidnapped or arrested on trumped up charges before the day. They wanted Aka to be free to watch them shine. Yusufu Olatunji, however, had a different plan. He saw the demise of Oluwo Ijemo and the scheduled burial ceremony as an opportunity to take on Haruna Ishola on the music field. He, therefore, pleaded with the Soaga's team to allow both Haruna and Aka attend the burial so he could deal with them 'musically.'
On the D-Day, Haruna Ishola started his play early and had the crowd with him. It was fun in the Aka's camp. They were enjoying the unfolding drama with great relish. As a matter of policy, Baba Legba would not play until the wee hours of the day. He began around 12mid-night. He was conscious of the happenings around and was determined to prove a point that "agba l'etu." Himself and Kasumu Sanni (his lead drummer) were at their best. One of the lyrical lines that night went:
Lawuerebe o/ erebe lawu
Omo Soaga ooo!!!
Lawuerebe o/ erebe lawu
Iwo lo fe Amoke gbeyin
Sebi iwo lo r'aya fe o
Lawuerebe o/ erebe lawu...
Kasumu, expectedly, complement perfectly with his Talking Drum, throwing banters indiscriminately at the 'enemies.' One of the banters that night went thus:
Iwo lari ba wi!
Omo Soaga, iwo lari bawi!
Iwo to gba Aya won/ to gba Iya won
Iwo lari ba wi!
Before long, the circle of Haruna Ishola and S. Aka reportedly went empty; as everyone, including their personally invited guests, carried their chairs and moved to Yusufu Olatunji's circle. It was not a good night for both Aka and Haruna as the rich guests were more on Baba Legba and Lamidi Soaga's side. As they danced and rained crisp Naira notes on Baba Legba, the guests cheered. Haruna had to bring his play to an abrupt end, in a seeming show of defeat. That night's encounter snowballed into the never ended war between Baba n Gani Agba and Baba Legba. Even when the older Yusufu Olatunji died in 1978, Haruna Ishola did not dedicate any track to his memory. It was that serious.
May Allah forgive their sins and grant them all eternal rest. They were great men, no doubt.
©️ Eyiowuawi Toluwalase
0 Comments