No More Under Pressure

“Under pressure Nigeria, under pressure…”, sang Nigeria’s iconic reggae star, Ras Kimono, in his hit track, ‘Under Pressure’, from his debut album of same title in 1989. It was a plaintive song backed by saxophone sounds and rhythmic chants highlighting the untold poverty and hardship experienced by millions of Nigerians under the jackboot of dictatorial rule. However, last Sunday, the Under Pressure crooner succumbed to the pressure of the cold hands of death. Though fans, friends, family and loved ones may continue to wail, Kimono is under pressure no more, writes VANESSA OBIOHA

Ras Kimono and other musicians of his ilk thrived under the military dictatorship of their era – artistically and politically without any inhibitions. The late Afrobeat legend, Fela Anikulapo-Kuti, paid dearly with the killing of his mother, Funmilayo Ransome-Kuti, by soldiers under the control of the then Head of State, Olusegun Obasanjo. Kimono would later say in an interview that the Afrobeat star was the inspiration for his ‘Natty Get Jail’ song. It was originally titled ‘Fela Getta Jail’ but since the Abami Eda was freed before the song was released, the title was changed. The song was dedicated to all freedom fighters like Nelson Mandela and Martin Luther King Jr.

More than five minutes long, ‘Under Pressure’ captured the plight of disenfranchised and disenchanted Nigerians, who were wallowing in hunger, poverty, unemployment, despotic rule. Not born with a silver spoon, Kimono experienced hardship as a young man, living in the ghetto until he rose to stardom. He loved reggae. It was visible in his appearance and speech: his sprawling dreadlocks tucked under a large cap; the red, yellow and green rasta colours were evident in his fashion.

The reggae star traversed spots like Japex Studios – a popular reggae spot in Anthony Village, Lagos – where he watched reggae artistes performed and was soon given the chance to hold the microphone. He didn’t fail to wow the audience.

Before he landed a recording deal with PolyGram Records, he tried impressing Ottor Records, Tabansi and EMI Records. At the time, artistes like the late Emma Dorgu, with his monster hit, ‘Freedom’ in the early 1980s; the late Sunny Okosun with his album, ‘Third World’; Tera Kota, another reggae star who shocked the nation with his debut, ‘Sodom and Gomorrah’; the Mandators, as well as the band, Jah Stix, fronted by Majek Fashek, dominated the reggae scene.

PolyGram Records was the miracle Kimono was waiting for. He went into the studio and recorded successful hits that include ‘Natty Get Jail’ where he taught the world the twist dance and ‘Rum-bar Stylee- a fan favourite’. In the latter, he announced his style of music and even told his audience ‘in case you never know I’m your dub master’ as he walked on the streets with a big radio on his shoulders.
That title would later metamorphose to his moniker, ‘Rub-a-Dub Master’ and forever lived with the superstar until his death on June 10. He was rushed to the hospital from the Murtala Muhammed International Airport where he slumped while awaiting his flight to United States of America – the cause of his death remains unknown.

The news came as a shock to his friends and loved ones. “Alex Zitto and I just spoke about him on the phone yesterday,” said Azuka Jebose, a veteran entertainment journalist. “He told me that Kimono suggested they should visit me in North Carolina when he arrived only for me to wake up to the sad news of his demise.”

A close ally and the Chairman of Copyright Society of Nigeria, Tony Okoroji, who confirmed his death, described him as a fantastic artiste. “Kimono was not just a great musician but a truly fantastic person. He had no grudge against anyone and stood for truth and justice at all times. I have not just lost a colleague but a valued friend. This is absolutely devastating.”

In reverence to the late icon, COSON opened a condolence register for fans at its Ikeja office as it repeatedly played the artiste’s songs including his unforgettable performance at the last COSON Song Awards while flags were hoisted at half mast. Rastafarians across the country are also paying tribute to the artiste who they believed paved a way for them. Various activities are being planned to honour the reggae star such as the Rastafarians in Ebonyi State, who are planning to honour the legend with a candle-lit procession, music concerts and road shows.

Kimono’s music transcended the music landscape. Prolific filmmaker and photographer, Femi Odugbemi, captured it succinctly: “It’s a sad loss for our creative industry at a time when we most need veteran stars like him who can mentor this generation on how to sustain the global success and the boom the music industry is currently enjoying. Ras Kimono is among those who laboured and laid the foundation for the music industry of today. He took his ghetto street experiences and made music that connected with people. Whether you call it reggae or hip hop, it’s about creating a beat to which the common man can identify and respond. His music inspired us and connected us in a special way. That is why I am sure that Ras Kimono can never die as long as the lyrics and melody of ‘Rhumba-stylee’ brings a knowing smile to the ordinary man on the street.”

In a statement, the Governor of Edo State, Godwin Obaseki commiserated with the family of the deceased, praising his courage to fight for a better Nigeria. “Ras Kimono campaigned vigorously for a better Nigeria through his unique music genre, rooted in reggae, which earned him the sobriquet, the Rub a Dub Master. His philosophical bent which dominated the theme of his songs, will continue to reverberate in the minds of millions of his fans across the world,” Obaseki said.

Indeed, Kimono who was born Ukeleke Okwudili Onwubuya, used his music to advocate for a better life for the impoverished Nigerian masses. In ‘Gimme Likkle Sugar’, he sang about police brutality and political corruption. In ‘What’s Gwan’, also the title of his sophomore album released in 1990, Kimono again decried the economic situation, demanding answers from the despotic leaders in power. He once declared himself as a prophet of Jah in “Kimono Dem Want” where he belted out: “This is a message from Jah that Nigeria must be free”. Most of his songs were political commentaries on the happenings in Nigeria, Africa and the rest of the world. Staying true to his reggae roots, he never veered into other genres. His 2012 album, ‘Matter of Time’, has all the embellishments of an advocate of the people. Music to him was more than entertainment. Most of the ills he sang about are still happening – Nigeria and Nigerians are under pressure.