Vanessa Obioha writes that for so long fans of the late reggae star Majek Fashek hoped the artiste would bounce back to life after his struggle with drug addiction, but the Grim Reaper punctured that dream
“The sky looks misty and cloudy.”
Those opening lines of Majek Fashek’s award-winning hit, ‘Send Down the Rain,’ captured the mood on Tuesday morning when the news of his death broke. By an inexplicable supernatural force, Fashek who was widely known by the moniker ‘The Rainmaker’ sent down the rain while his fans and lovers of his music mourned him.
On Twitter, there was an outpour of encomiums and tributes on the artiste.
Governor of Edo State, Godwin Obaseki, in a tweet paid tribute to the artiste who hailed from the state.
“I mourn the death of quintessential maverick musician and Edo son, Majek Fashek. Fashek who took the world by storm with his enigmatic talent remains one of the finest cultural icons of his age and would be remembered for his disarming craft and skill,” said Obaseki.
Senator Shehu Sani eulogized the artiste in a tweet, recalling a recent encounter: “Some years ago, I met Majek Fashek in New York before he returned to Nigeria. He was the shadow of the man many of us lived decades ago. Majek rode through rough and dangerous terrain in life. He tried to pick up and now is gone. He is an unforgettable legend. R.I.P.”
The Minister of State, Labour and Employment, Festus Keyamo, described him as the ‘Rainmaker’ and extraordinarily gifted musician.
“They don’t make them like you anymore. Your remake of the song Hotel California remains of my favourites and of course, the evergreen ‘Send Down the Rain’,” he tweeted.
Nigerian musician, Dr. Sid, recalled the first memory of the artiste, saying: “My first memory of Majek was my parents coming back from Lekki Sunsplash in 1989 with the ‘Prisoner of Conscience’ and ‘I&I Experience’ vinyl. Great music from a true legend.”
Two days ago, Ayoola Sadare, convener of the Lagos International Jazz Festival (LIJF) played two of the artistes greatest hits ‘Holy Spirit’ and ‘Send Down the Rain’. While listening to the song, he recalled shaking his head in deep thoughts, wondering who will be the next Majek Fashek.
Indeed, no living musician came close to the iconic star born Majekodunmi Fasheke on March 1963.
Fashek dominated the airwaves in the 80s with the monster hit ‘Send Down the Rain’ from his debut album ‘Prisoner of Conscience’. The song became a national anthem for many as children echoed the catchy chorus: “Cos I’m a living man, got a lot of work to do, send down the rain. Mama, mama, mama yo. Yaya, yaya yayayo, send down the rain.”
The song was adjudged a masterstroke, fetching Fashek a PMAN award for Song of the Year in 1989.
Prior to his emergence on mainstream media, Fashek was a member of Jastix, a band comprising McRoy Gregg and Black Rice. He was known as Rajesh Kanal at the time. Jastix became prominent as the in-house band on the Nigerian Television Authority (NTA) Benin show ‘Music Panorama’, and toured with fellow reggae group, The Mandators.
He would later split from the band to pursue a solo career. Under Tabansi Records, he released two albums: ‘Prisoner of Conscience’ and ‘I&I Experience’. The two albums catapulted Fashek to fame, fetching him monikers and international recognition. His relationship with Tabansi didn’t last as he got signed to Interscope Records in 1990 and released the ‘Spirit of Love’ produced by American music producer Van Zandth.
Fashek grabbed headlines when he appeared on the American TV show ‘Late Night with David Letterman’ in 1992 as part of the promotion of his album and performed the hit single ‘So Long Too Long’ released under CBS Nigeria. He was later dropped by Interscope before moving to Mango, a division of Island Records accustomed to marketing reggae internationally. His first album for the company included a cover version of Bob Marley’s ‘Redemption Song’. He has recorded several albums for various labels since including ‘Rainmaker for Tuff Gong’ (1997) and ‘Little Patience for Cora’l (2004).
Fashek is from the generation of Nigerian artistes who used their music to address issues in society. In songs like ‘Religion Na Politics’, he sang about the religious wars — evident in the society to date —and the implications of such actions in diversely cultural society.
In ‘Mother’, an emotional Fashek sang about the strong African woman. The catchy call and response hook, ‘Mama de de oyoyo,’ became a sort of welcoming chant for mothers.
One of his greatest hits, ‘Majek Fashek Ina New York,’ talked about his experience in the popular city of United States of America. Instead of glorifying the city, Fashek sang about the poverty and confusion in the golden streets of New York.
Largely influenced by afrobeat legend Fela Anikulapo-Kuti, Jimi Hendrix, and Bob Marley, a certain spirituality accompanied Fashek’s style of music. This kind of supernal, according to Sadare was not limited to religion.
“It just shows that Fashek was a spiritual being. His music connotes that spirituality.”
Group Politics Editor of THISDAY, Nseobong Okon-Ekong, who covered the entertainment beat for decades described Fashek as someone of deep conviction.
Okon-Ekong explained, “The first time I met Fashek was at the General Hospital in Ikeja which is now known as Lagos State University Teaching Hospital (LASUTH). This was back in 1985, I was a student at the Nigerian Institute of Journalism then. I remember him as a researcher.
“He came to the hospital to feel the environment because he was writing a song at the time. It was important to him to feel the people and ambience in that setting in order to capture the mood and write the song convincingly with emotions. That’s why people can easily connect to his songs because he felt what they felt and was convinced about it. He always put himself in the situation to convey the message with conviction.”
Unlike his contemporaries, Fashek chose to draw inspiration from different music styles and married them to his peculiar style called, ‘Kpangolo.’ Though his style was rooted in reggae, he found a way to blend it with other genres such as juju as seen in the talking drum featured in the hit, ‘Majek Fashek Ina New York.’
“Fashek was unique in the arrangement of his songs,” added Okon-Ekong. “He has this uncanny ability to write songs that will take the listener through different moods. It takes ingenuity to achieve such. He also possessed the ability to marry different genres into his music. His music style is a hybrid of highlife, reggae, juju, and afrobeat.”
Fashek’s career began a downward spiral when he became addicted to drugs. Pictures of a malnourished Fashek circulated in the media, prompting kind-hearted Nigerians to seek help for the gifted songwriter and guitarist. When Fashek performed at the 2014 Headies, he received a standing ovation as he sang some of his popular hits to their delight. The outpour of emotions for the reggae king was like a homecoming treat.
“I admire Fashek for staying true to his roots in the latter stage of his life,” remarked Okon-Ekong. “Before now, he was seen as a global artiste but when he came back, he connected with his Benin roots, wrote songs in Bini, and eulogized the Oba of Benin.”
For so long, many awaited the return of Fashek. Late last year, billionaire Femi Otedola intervened in the health situation of Fashek who was rumoured to be dead. The billionaire offered to foot his medical bills. Quite a few hoped to see the artiste bounce back to his feet, including Sadare who had plans to celebrate him at one of his events this year before COVID-19 struck. Perhaps, the hope for redemption was too long for the Grim Reaper.
The artiste was said to have died on June 1 in a hospital in New York. His manager Uzoma Omenka announced his death on the artiste official Instagram account. (Thisday)
