Nigerian music is dominated by one man
But before Fela came into his own, there was another saxophonist with a tight band blending highlife, Latin, R&B, and afropop into a potent brew
In fact, Fela started out as a trumpeter in his band
Orlando Julius was the toast of Lagos in the 1960s
He and James Brown borrowed from each other as the funk sound developed
Julius’ debut album in 1966 contained the hit Ijo Soul
Listen to that and I Feel Good back to back, and you’ll see the mutual appreciation society that held court in that era across the Atlantic
Julius came to the US in 1972, I believe
His band had gone through various incarnations
He regularly recruited (African) American women to do vocals, but the band was usually Nigerians and Ghanaians
Sometime in 1974 (timeline may be fuzzy here) he met Hugh Masekela at a jam session
Masekela introduced him to producer Stewart Levine, who was born in the Bronx, but went to college at the Manhattan school of music
Masekela and Levine were roommates there and became lifelong friends and associates
(other classmates included Herbie Hancock and Donald Byrd)
In 1976, Levine called Julius into the studio in LA for a recording session
Julius bought his percussionist and a couple of Americans for vocals
When he got there, he was introduced to Lamont Dozier
At this time, Dozier had passed the period as a legendary producer at Motown
He was embarking on a second career as a front line act himself
At the sessions, Julius recognized the rhythm guitar and melody of his song “Ashiko” (it was also the name of his band at the time)
He added in percussion, a beat breakdown, and Yoruba lyrics (that he taught the American ladies to pronounce) in a sort of second movement
This song was released in 1977 as “Going Back to my Roots”
As OTee and the Professor are well aware, one of my favorite tracks of all time
It apparently always closed the night at The Loft
But today’s dose is from Julius
This was released in 1978
Awade is Yoruba
You can hear a similar structure to Going Back to my Roots
With the breakdown in the middle
But on this one, pianos and electric guitars come smashing in at the end
And Im always a sucker for vocal harmonies
Julius talks about how you have to have a second guitar playing a kind of single note beat (“like a drum!”) when you have the classic rhythm guitar of afrobeat and highlife
Not sure I totally understand it, but I know its appeal
My 5 year old Alice consistently requests Awade in the car
“it’s so groovy” (a term she knows from Pete the Cat)
Later in life, Julius tried to talk to Levine and Masekela about royalties for Going back to my Roots
Which, in addition to being a hit for Dozier’s solo career, became even bigger when a more discofied version blew up for Odyssey in the early 80s
He never got through to either of them
Emphasized “Julius talks about how you have to have a second guitar playing a kind of single note beat (“like a drum!”) when you have the classic rhythm guitar of afrobeat and highlife”
On the record, he’s only credited with “translation/interpretation”
Disliked “On the record, he’s only credited with “translation/interpretation””
Love, Peace, and Happiness, the 1978 album containing Awade (as well as another version of Ashiko, where I don’t quite hear the similarity to Going back to my Roots) is very tough to find
As are originals of most of his bands’ LPs and singles
There have been some reissues, tho not of love Peace and happiness as far as I know.
Maybe overseas
In addition to his old roommate and Dozier, Levine produced Minnie Riperton, Van Morrison, Joe Cocker, etc etc
He was partly responsible for BB King’s career’s revival in the same period (late 70s)
He was just everywhere
Don’t know what his side of the Going back to my Roots story would be
He’s still producing (recently on a Nola kick with Dr John and Aaron Neville)
Meanwhile, Orlando Julius has been rediscovered and has (had) been touring
They say his live show still rocks
Awade
emi yoo ri ọ ni ọla
