The artiste known as Rasqui ( Rasaq Lawal) would go on to release his hit single, Ati Ready and remain one of the most popular faces of the Afro hip hop revolution.
In this interview with The Entertainer, the singer opens up on how he found music at an early age, his challenges, and the role Kennis Music played in making him a force to reckon with in music.
Excerpts:
How did you come into music?
I didn’t go to any school of music neither was I attached to any musician for tutelage. As I grew up I discovered that I was singing songs that I had never heard before. The songs just kept flowing so I decided to start keeping a music diary where I wrote down all my songs.
As the days rolled by, the songs kept coming and I kept on writing. At a stage I started gathering my friends together and entertaining them. It was at such get-togethers that I was encouraged to talk to leading record labels of that time. Those were the days of Sony Music, Afrodisia, Decca and other local labels. Prompted by my friends, I stepped out knocking on their doors.
What were the setbacks you encountered?
As a youth, I was full of enthusiasm in the new life that awaited me as a successful artiste. I would dress in my best clothes, polish my shoes to the point where they reflected sunlight because I believed that the sunshine of my life was around the corner in the form of a juicy deal from a giant recording company. I was not only disappointed by the companies, many of them threw me out!
You mean they threw you out?
Yes. There was this very embarrassing experience I had. I tried explaning to an A&R man at a big label back then. I said I was a hip hop artiste and tried to explain my music to him. All I said only brought out scornful laughter from him. He looked me in the face and said, ‘go and sing fuji, juju or gospel music. We don’t have time to waste on rubbish. We can’t spend our resources on the kind of nonsense you have brought here. Please, excuse me I’m busy.’
I came back home disappointed because of the thorough tongue lashing I received. Yet I refused to give up! I wasn’t going to sing fuji, juju or gospel music. I got the inspiration for those songs from above and I believed God had prepared someone out there who would take them out to the market place. As the songs continued to come, the zeal to get a record deal overwhelmed me.
How did you meet Kenny Ogungbe?
My meeting with Uncle Kenny Ogungbe of Kennis Music was dramatic! The effect of that moment turned my life around forever. It was Kennis Music that transformed the music landscape in Nigeria; there’s no controversy about that.
The duo of Kenny Ogungbe and Dayo Adeneye were and are still a blessing to the music industry in Nigeria. When I submitted my demo tape to them, they embraced the product. I was so glad when I was signed on and they released the album. That move shot me to limelight and changed my life forever. I was with Kennis Music from 1999 till I left the label six years later.
Tell us about your experience at Kennis Music?
Kennis Music had the foresight to know where music was going internationally. While the old label owners were busy nursing old and dying ideals, Kennis Music was busy looking into the future of music and how to transform Nigerian music and key it into global trends. Today that has happened.
Nigerian hip hop is played on radio stations worldwide. It has won numerous international awards. Kudos to Uncle Kenny Ogungbe and D1 (Dayo Adeneye). Nigeria is a great country full of talented and resourceful people but government has no vision for the industry. I remember that I used the money given to me to procure Joint Admission and Matriculation Boards (JAMB) forms to record the demo tape I submitted to Kennis Music; I was determined not to fail.
Who are your mentors in music?
I am one of the few artistes who lack mentors. During my days, the reigning sound was fuji, Juju, and gospel music. That was in the 1990s when nobody thought of hip hop as anything to write home about. Apart from my friends who were encouraging me to push on, nobody else surfaced. Hip hop was seen as an American thing which should not be encouraged.
Tell us about your first time on air?
It was in October 1999. I can’t remember the actual date now. It was on the spot decision that led me to a radio station that day. I took the track Ati Ready (We Are Ready) to Star FM at Alausa, Ikeja. I asked to see one of the disc jockeys. I was led to one Kwame as he was called. I introduced myself and why I came. He collected the CD from me saying if it’s not good, he won’t play it on air. I said okay. He put the CD inside the player and wore his headphone. Initially he was nodding his head along with the beat, at a stage, he removed the headphone and started talking to another person. I was perplexed! I called his attention to the CD in the player. He looked at me and said ‘what? I’ve started playing your music on air already.’ I was so happy I was speechless! That was the beginning of the massive radio attention the song received.
What would you say has been the impact of hip hop music in Nigeria?
Hip hop has had a very great impact on the youths of nowadays. It is simply addictive. However, if lyrics could be modified to reflect more of the positives, the better it would be for the youths and the nation in general. This is where the job of the Nigerian Broadcasting Corporation (NBC) comes to play. NBC should monitor what is put on air, sanction and ban records like they do to film in order to sanitise society. I look forward to that.
What is the future of hip hop?
The future is bright. It is a growing genre. It is still in its infancy in Nigeria, worldwide attention and acceptance notwithstanding. It is going to expand and bring forth other forms of music. Music forms like fuji, juju, gospel, apala, sakara and even real traditional local forms would soon be uplifted by the introduction of hip hop into them.
What is your opinion on piracy?
It is bad, too bad. Every attempt to curtail it has always been violently countered by the pirates. Apart from shows and concerts, no artiste can fully realize money worthwhile from sales. Our albums are sold everywhere but the profits go to the pirates and not artistes. We need a special task force organized by government to enforce sanity among our marketers who most often double as pirates.
How do you handle female fans?
When people accept you and your music you’ll know. Fans will always be there to welcome you to shows and concerts. Carefulness is the watchword. You must not overdo anything with them especially the females. When you see them throwing pants, brassiers and handkerchiefs at you on stage, see it as just an expression of their love for you. It shouldn’t be the key for you to ask them to open their private parts for you, you’ll lose their support. Once you are accepted by female fans, the males will follow. To abuse them (females) is to lose them. Females are our greatest fans.
How do you get inspiration to write your songs?
I write my songs myself. I get inspiration from what I see, think about and experience in my environment. All these combine to produce lyrics for me. Sometimes if I listen to other songs, I get inspired to write a new one or a version of the one I listened to.
What’s your academic qualification?
Because I used the money I was supposed to use to buy my JAMB forms to record my first demo cassette, I lost the opportunity of going to the university.
However, I attended Yaba College of Technology where I read Business Management. I left there in 2004 with my Higher National Diploma (HND).
How do you relax?
I watch movies. For food, I like black amala with ewedu. I don’t take alcohol as a rule. I only drink water and juice.
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