INDELIBLE IMPACT DIMENSIONS OF A MODEL GOSPEL MUSIC ICON

INTROIT (on Eflat)

The world we now live has become one in which anything valuable has to be denominated in monetary terms. Sadly, this includes intangible parameters such as values, morals and virtues. I heard a gentleman say “If it is not making money, it is not making sense”. While this statement has some truth to it, money in itself is not a destination. I guess this is one reason why it is referred to as currency.

Nine years ago, I made a decision to express the good deeds of as many persons that have impacted my life, with every opportunity I find. My usual approach is to never delay until I can afford a befitting appreciation. Instead, I compile and publish personal perspectives of how they have impacted my life. I am typically up and personal with my description. The communication medium I employ is one that will get the information into the recipient’s orbit. I did not anticipate that Sammie Okposo “bouquet of flowers” will be presented when he is no longer able to perceive.

Beyond a testimony that this compilation represents, it is a trajectory tolled by a greatly misconstrued young man which I owe to posterity as it is my duty as a niche “watchman” to disclose.

FOR YOUR KIND ATTENTION

Kindly be notified that I intend to keep my presentation descriptive very vivid. There would be multiple short stories to provide context. I will need the sustained attention of the Gen-Xers and Gen -Zers here. Therefore, I will include expressions that is hopefully consistent with this category, whose attention span wanes fast by expressing some of my thoughts as banter phrases. Incidentally, there is a greater audience within the referenced demographic. Millennials and the older generation would kindly meet us halfway. This is also a good time to invite a “seasoned” musician friend of yours over to provide hands – on interpretations, such as Google may be in capable of sufficiently capturing. While I have decided to announce this information in Gath (since there is no other way), and literally publish it in Ashkelon, I believe that encrypting a few expressions will prevent the daughters of the uncircumcised from triumphing. The decryption key resides with the initiated.

DEFINITIONAL INFORMATION

Significance of Good Influence

Have you ever doubted whether you could drive through a pathway at night? Then you watched as a first car drives through the path, then the second, then the third? You wouldn’t need to know the drivers of any of the cars before you engage your gear and head down the pathway afterwards. Now, this is the power of influence. There is an unmatched confidence that the knowledge of someone having achieved a task instills in you. Most especially, if the person is a contemporary. Bear this information in mind as you would see it appear many times going forward.

?Who is a musician? A musician, as defined by Cambridge English Dictionary, is someone who is skilled in playing music, usually as a job. Collins defines a musician as a person who plays a musical instrument as their job or hobby.

What is a job?

Collins dictionary defines job as a specific piece of work or task done by agreement for pay.

THE NEXUS

My understanding of the subject of musicianship from these definitions is this: Once an individual has developed his craft enough to an extent to which he can skillfully play/sing and consistently deliver his part of the music score (as and when required), including conducting one’s self (and dressing) appropriately in tandem with the job environment for an agreed remuneration (which could be cash, kind or a combination of both), that person is a musician. Anything short disqualifies you.

Invariably baba mi, bicos you fit run small mo: r: m; de: mo: mi, you quick go barb Obama, sew Tuxedo on top “bonfo” trouser, run go ABJ go dey pack fake chord dey snap on top one Montage (before the main pianist come drive you comot) does not qualify a person to be called a musician.

PERSONA OF Sammie Okposo - A MODEL GOSPEL MUSICIAN

Sammie Okposo was a gentleman I never physically met, but communicated frequently with over the phone and other media platforms. His entire discography is part of my catalogues which I have studied many times. His was very gifted, dogged and very approachable. This man’s ministry greatly imparted mine and his artistry without a doubt has been a huge influence. He truly loved the making of good music, and the deployment of such for the glorification of God. He blazed the trail in excellent gospel musical compositions – each piece satisfying musical principles and still very anointed. One was not sacrificed for the other. He ensured that all bars were locked, groovy, articulations fidel and the sonic quality of the sound gears he was provided optimized. Up till his last ministration, he maintained what I would describe as a basic band – pianist, bassist, drummer and a mono-parted BGV configuration.

WHAT HE REPRESENTED

While he had a firm grip of VSTs – a technology he had been deploying in the past 22 years for movie sound track, he maintained a traditional approach on stage as much as possible. This helped him to keep in form, not be over dependent of software assistance and be able to minister in platforms that did not have VST infrastructures. His band formation was an encouragement to any musical team who ever doubted that a pianist, bassist and a drummer were sufficient to produce good music. Even though he transited at 51, it feels very odd attaching any prefix to his name. Wafi go talk say “Dzi guy hombo”, very approachable and truly loved the making of good music, especially one that glorifies God. His was not the case of being found seating on the bench (at 30 to 35 years) because they have been ordained ministers. Worse, being AWOL from rehearsals while casually announcing “I want to go and cook for my husband”.

He truly loved what he did, was sold out to the craft and it always showed on his face. He was not in any competition with anyone. In one contact, he could call up and assemble a team of good hands for your major concert – without rerouting you through his manager. As long as a request was straight to the point, baba go everly run you one or two. Aje! When asked how he does something that was musically unusual, he would not conceal his concepts only to respond with the churchy phrase “It’s God and God Alone”. Really? She you dey win me ni?

HE WAS SEASONED AND COURAGEOUS

He was one minister who could hold a position on a matter, and stand by it alone. If he was asked and had to verbalize, he would clearly articulate his opinion totally devoid of disrespect. This man was one who could take on an impromptu international press conference with BBC News or CNN for one hour on music related subject without shelling, being cowered, found unethical, and being true to his own opinion – all unscripted. He exemplified Daniel 1:4. He wouldn’t get on such platform and retort “Mad oh” out of incoherence or inability to comprehend the question asked. There was no guile in this guy.

Sammie Okposo believed that “the gift of a man should make room for him”. Recall that male and female, made He them. He knew early that the musicians were a significant part of the Levites as contained in 1 Chr 16:37-42. Could there be a different interpretation to the content in 1 Chr 25:1-8 when most of the elements in any service model today is still through music. Having faithfully served and delivered on their assigned duties, what happened to their own allotment? Pending when this would be revealed and hopefully commence, he strongly believed that a musician could deploy his craft in other platforms where he can earn to sustain himself through his painstakingly honed craft. One did not have to wait until one was termed “worse than an infidel” before attending to basic needs. Adapting from a recent (whizzical) statement, Sammie Okposo did not believe that a musician had to wait until “they pitied the popsie’s life” and gift him/her a car after decades of meritorious service.

He learnt early that a musician’s craft should be honed enough, and strategically deployed enough to not only to feed him, but to bring him before kings and not mean men. The musician did not have to do another job to feed because the music making task was enough job and so much more. He also identified very early, that seeds of service sown in place does not have to yield reward to the sower from that same spot. He believed that a Christian (musician’s) ministerial scope was not limited to the church. The man knew that a believing musician got equipped for ministry in church. Here, we also minister one to another. However, the major ministration mandate of a believer was “the Go ye” while the scope was “into the world”.

He, among a team of outstanding musician cluster, used their platform to championed this cause in the early 90s. This was the beginning of his prominence and subsequently, his misunderstanding. Kindly hold on to this thought.

MUSICIAN DEVELOPMENTAL NICHES IN THE EARLY 90s

Specific Pentecostal platforms were strongly instrumental to the development of the excellent musical culture we now have world-wide. Most prominent churches in Nigeria, as at 1990/91 were still strengthening their foundations. Their focus was the mandate delivered to the founding fathers.

REV. George Adegboye (Rhema Chapel International Churches) – SOUTHWESTERN NIGERIA

I was listening to a message recently by Baba, the SMIC of Rhema Chapel. It was preached in the late 87/88ish. I observed that there were two pianos playing at the back ground. Those were days when tambourine was huge luxury in church. The basic instrument for a wealthy Pentecostal church was a pair of Acuba – not Conga. Brethren developed very hard palm those days and could clap the Beelzebub out of a possessed man. The statement “as poor as a church rat” that Bishop Oyedepo did not like to hear was pretty popular back then.

Those that had the first dose of what was eventually formed into manuals taught at YMTS were all direct or indirect offspring of Rhema Chapel. This was many years before the popularization of Bible Institutes. From Stone Church to Day Star (which influenced the conception of Elevation Church etal) to Global Harvest (which influenced the conception of Triumphant Nation etal). I thought that the chain ended here until Pastor Biodun (COZA) casually mentioned to Debola and I as we discussed, that he was Rhema Chapel’s first drummer. Little wonder! The apple truly does not fall far from the tree. Every church that was either a direct of indirect offshoot has good music as its signature today.?

This man was a huge encouragement through the YMTS and deliberate music and sound gear investment at the international headquarters. The making of good music was prioritized. Naturally, the eagles gather wherever the carcasses were found. For the records, my background was the Orthodox. I recall how that he would drive over to the final rehearsal before a concert. After encouraging everyone, he would confirm to know if a particular pianist, BiodunOlakonu, was available. Afterwards, they would both drive out to what I would refer to as "the basement”. In 20 minutes, the pianist would arrive with the most recent piano model of that brand. He personally acquired the best musical and sound gears while he waits to be assured that the handler could successfully operate it. This was his usual practice. He would travel and purchase multiple foreign CDs long before the introduction of wireless telecommunication for internet or Google. They were not declaring 7 days dry fast to be blessed with drum sticks or be able to solder the tweeter of a lone Ahuja speaker.

Arch Bishop Idahosa (Church of God Mission) – SOUTH EAST/ SOUTH SOUTH

Idahosa’s church was an influence haven to a lot of outstanding musicians in this region. The likes of sister Waje were still very active in the choir. It birthed Word of Life Mission where Ayo Oritsejiafor presides and Sammie Okposo refers to as his home. Many churches are offshoots of these ministries and very outstanding in music ministration too.

Panam Percy Paul (Panam Music World) – MIDDLE BELT/ NORTHERN REGION

Many northern good music models today were tremendously influenced by this virtuoso. From Jeremiah Giang, who was an inspiration to MI Abaga, to Chocolate City and all that has passed through it.

Living Spring, IFE

Feyi Ojuri and his team also impacted so many church and fellowship choral groups from Ife axis in the late 90s. Life time music ministration and artistry ethics were willingly handed down year after year and at no cost. For the millions that have been impacted by MASS, Tolucci was a regular here.

Wole Oni and Kinbosky

This duo introduced a healthy disruption to musician teamwork. Both demonstrated that it was possible for a single individual to play what a full band would provide, leveraging the in-built samples that came with electric pianos. While the former did a great deal of work from the Anglican community back at Akure, the latter was worrying us from the Harcourt end.

Without a doubt, there were so many other good hands across the country. The focus are niches that affected musicians from other denominations in significantly large number and had media presence.

A SUDDEN NEED FOR TRANSITION

The focus then was foreign music in order to foster rapid growth. Dialectical songs were referred to as vernacular and discouraged as much as possible. Many musicians paid the required price, evolved, polished their artistry and were able to service a global audience – whether they had a formal education or not. On the flip side, a very large percentage of the active church congregation – especially the uneducated - were disenfranchised. A need for a music-wide transition arose. One that would include our dialectical expression (including broken English and afro), presented in urban contemporary arrangement and sound fonts. What we celebrate and enjoy today was initiated about 22 years ago.

Many years ahead of this time, accomplished jazz artists were preferred models for Nathaniel. Laboriel, and eventually Wooten were musical staples for Dunsin at Evangelical Baptist. The likes of Kenny G etal were the materials that Jerry was using to upset the wildlife from UCU back, back, on PS.

Unfortunately, gospel platforms that did not make the transition were all terribly hit. Many are yet to recuperate till this day.

Abeg, how all this gist con take consign us na?

THE ROLE OF Sammie Okposo

Recall the thought you were told to hold earlier? Sammie Okposo was very cordial with virtuosos like Gbenga Owoeye Wise, Agboola Shadare, Bright Gain, Soji Israel and Mike Aremu. Most of them were in HOTR choir. These guys practically shaped what the signature musical excellence that the referenced church possesses today. 90 percent of those on the music scene today were at best in primary school, if not still toddlers. The referenced team were highly sought after all over the world and would still give anyone a run for the money – even now. All of the vocalist relocated. Sammie Okposo decided to stay and pushed the native-inclusion transition using the HOTR platform, and his other spheres of influence as leverage. So, when some of us did not pursue multiple sponsored relocation offer to the States many years ago, he was a huge inspiration for such a decision. Kindly hold this thought.

UNIQUENESS OF THE TIMES

Children, including youths, were seen and not heard. Innocent comments that came from any young adult was met with resistance. The word “no” was mentioned too many times in households that it became a song. “Hell to the Nau” by Bullwinkle became very popular. The orthodox community were most prominent during this transition window. They had their decades – proven methods and procedures and they were prepared to preserve this at all cost. This included music composition and equipment funding. The yard stick were the hymns. Expensive organs were a default church feature. Complementary acoustics were factored into the building design from the foundation. As great and effective as this peculiar feature was, pipe organ could not be used to accompany “Nara” for instance. No matter the diminuendo deployed, service go turn wake keep. By extension, the transition attracted a significant review in outfit. You could not, for instance, wear bubu to sing “Comot Body”.

EFFECT OF KIRK’S CATALOG

Few years after transition momentum had built, Kirk franklin and family, beginning with his first album in 93, was led to scatter the table with “Stomp” in 97, followed by “Revolution” in 98. This also influenced hairstyles. Signature low cut gave way to punk and multiple other variants. The hitherto forbidden “Ayamatanga” hair extension began to appear on the heads of sisters. You were forewarned about the limitations of Google. A useful hint will be for you to reach out to Mike Bamiloye.

There was a huge transition out of spaces that either did not have digital infrastructures to support the transition, or were not welcoming of dialectical expressions in songs. Bros Lanre Teriba, Jaywon, Praiz, Timaya, Terry G, DJ Whales, DBanj, Flavour, NiggaRaw, Faze and Sisters Omawumi, Chidinma, Waje, Nini, Teni and Savage were rocked by the wave. Bro D & Sis. Chi have voyaged back while a host of others are awaited. Host churches were termed to have poached members. None agreed that the prevailing musical model did not accommodate the transition wave. Offence developed. The root cause had to be identified and the spirit behind this appropriately named. A label had to be handed to someone.

ENTER OUR DEAR MOTHERS “IN ISRAEL”

Omo, these were a special group of mothers. They were usually not very many in a church – typically about 5. The “others” still dey learn work. No information, no matter how trivial, eluded them. Everyone in the clan was usually friendly to each other. They had permanent siting positions. Earrings or other jewelries were proscribed. Without fail, they all possessed the slip-on: one that was slightly elevated at the heel - jet black. One of their 3 core self-imposed responsibilities was to identify any trend that could threaten the nominal operation of the church and identify the spirit behind it. They needed to identify the spirit that wanted to scatter the church. They were not diabolic to the best of my knowledge. However, they were experts at unravelling mysteries, giving it a label just before praying about it.???

The labels, once given, stuck for generations unending. Entire households eventually adopted some of these labels as official last names out of detachment from family history. If you met some Somto Penpe, the surname could have come from the yoruba phrase “Ile oni sokoto penpe” – a label used to describe her great grandmother when she was still a 10 year-old preteen and innocently wore trousers to church 76 years ago.

BEARING “THE CHASTISEMENT OF OUR PEACE”

Recalling the thought you were told to hold on Sam, this guy was a very prominent urban gospel minister domiciled in a prominent Pentecostal church. His revolutionary involvement with film score production for Nollywood movie producers in the professional hay days of RMD, Liz Benson, Regina Askia, Bob Manuel, Shan George, Omotola, Genevieve and many other wunderkinds made him a convenient target for the label. He was clearly the only musician among his peers doing this at the time.

Imagine your worship leader serving as conduit into Nollywood because of his excellent creativity with the non-existent infrastructure and fund allocation available for music score up until about 5 years ago.

A handful of accomplished actors who were cordial with him are equally very seasoned till date. If Zack Orji, Kate Henshaw, Chioma Akpotha, and a handful of others locked eye with you as a musician, you had better jejely checked yourself before you literally got schooled.

LEVERAGE INSPIRED BY HOTR

The HOTR, where Sammie Okposo worshipped, became the first Pentecostal church platform to create an interdenominational musical platform held outside church in 2006 which hosted 70,000 persons. This was a huge impact feat for a church that was commissioned 12 years before. Many years afterwards, we now have similar denominational platforms hosted by BLW and RCCG before boys begin waka comot. Even the highly revered DL don join.

IMPLICATIONS OF A LABEL

Just as faith comes by hearing, labels affixed on an individual, especially within the gospel space eventually influences how the world views the individual and its products. Added to Sammie Okposo 's was his itinerant nature due to his musical duties outside the church. I mean, no one likes to be termed to have denied the faith because he cannot provide for his household. Gospel spaces with predetermined regulations that do not accommodate the itinerant minister typically fenced off his category from typical gospel platforms. The effect of this is being extended to outstanding musicians such as Essence, KennyStbrown, Segun Obe, Dakolo, Nikky Laoye, Kenny Kore, Ojbarbs and Cobhams. They don dey eye Bamidele. Small time, e for torch Dunsin while making his transition too. According to 1 Chor 9:22 these guys to the weak, simply became as weak,?that they might gain the weak. There is also a misplaced group which includes the likes of Bros. Gordons, Akpororo, Kenny Black, Zicsaloma, Josh2funny, Kevin Sapp, Kabusa Boys, Arole and Sis. Prof. Helen Paul – all of whom are amazing Christian musicians.

MULTIDIMENSIONAL MUSIC BUSINESS FOOTPRINTS

Secular Music

He provided a worthy musical quality model that gave a lot of secular groups a run for their money. He was a pacesetter with impeccable gospel music delivery in English Language. He also modelled dialectical and broken English based songs for those who found this most comfortable. Quality digital gospel music products from him and his peers populated the airwaves with the ones from the likes of Eedris Abdulkareem, Daddy Fresh, Tetuilla.?Shortly afterwards, Asu Ekiye came to set the standard regarding expensive gospel video. He pack the whole “Naja – Deta” community full video, with Freke running riffs inside dialectical song, and bullied everybody with money from the banking sector.

Live Musical Surprise

He, along with his team, began this many years before Timi Dakolo became the champ of it. COVID now scattered the market for everybody to be doing pararan.

Corporate Events

His team was one of the very first gospel team to be contacted for this.

Individual HD musical Video Shoot

Sammie Okposo was among the first gospel musician among his contemporaries to shoot a personally funded video with the best infrastructure available at the time – Nollywood standard.

Introduction and Promotion of Isoko dialectical Song

He was a pace setter at this without distorting the native peculiarity of the song.

Short Phrase Emphasis

He understood the importance of gradual musical change and the power of short phrases. From “Welu Welu”, to “Na only You”, to “E good oh well well”, to “Oruko Jesu lomorimi wu”, to his version of “Oluwa E tobi”, to “E bami gbe Jesu yi ga”, to “Praise and Sing”, to “Jawa Chineke” down to “Comot Body”. Lengthy phrased titles and song expressions gave way to catchy phrases that better suited the peculiarity of the times. Many years afterwards, this evolved into a nationwide music business model that found expression in “other” songs such as God Win, Ara n be, Lagimo, etc

Introduction of Songs in Broken English

Sammie Okposo also set the pace regarding this while retaining the urban contemporary musical features

Major Influence in his Musical Sphere of Influence

Gospelonthebeats who was a pianist for many years at HOTR began Alternate Sounds with his team of proficient church-based musicians who went on to popularize what has become the “alte” move. Indirectly, these set the pace as a premium band that the muscle-flexing composers and most recently, Bandhits and other recent variants would love to beat.

Impact on South-Southern Musicians

Sammie Okposo simplified songs in his dialect by emphasizing short and catchy phrases. Big boy Asu’s dialectical rendition is usually long. Late Branama’s own was fast. After this, South – South evolved so well in music and have now scatter the shosh music with tritones and steroids. As lead, once you are tempted to hold a conversation with the pianist to tell you your key? It is likely that such a musician is from this part or at worst, travelled through the belt.

Foreign Collaboration by a Gospel Musician

He was one of the first musicians (among his peers) to invite and collaborate with a foreign gospel music expert. Afterwards, it became a surmountable feat for many other gospel acts.

Official Band for a Political Party

He is still the only gospel musician till date whose band penetrated this territory – a major circle of influence. This is another feat that he set 7 years ago for other colleagues to beat. Having a band that will be on standby for an incumbent Presidential Candidate that successfully supported rallies held in 36 states including the FCT, required dedication & knowledge of palatial etiquette than skill. In the lyrics of OluwaBurna, “make you do am (for your state counsellor) if e easy”. Spontaneity that bothered on years of experience together as a team was a huge necessity for success in this space. His bassist was with him for more than 20 years, the pianist a little less, and the drummer most recent. When we stayed our bit within our space, Sammie Okposo ’ team was a model to emulate.

A HUGE GAP STILL UNATTENDED.

The age category between 5 and 12 are almost totally unattended and unengaged in most gospel spaces. It sometimes extends to the teenage category. Members of the first category are typically used as toddler assistants as the need arises. Example: Rekiya, zo nan. Ngwanu go and feed your brother Osiso. On the other hand, members of the other category are “engaged” for car related duties. Example: Gbenga, help me bring my heel from the backseat. The guy too will bounce out, makes a few phone calls, and decide out of boredom, to drive daddy’s Lexus around the car park. While at it, he lock eyes with Obianuju whom he has been crushing on, who incidentally has also been sent on a similar errand. Few Gbengene’s eventually get to grab the heels and return to church for service untainted. Apart from this, members of both categories are required to sit still, try to comprehend what is being served to adults until the end of service, before being ushered into the car and head home.

REQUIRED ANSWERS

Beyond having an exclusive children structure and for those who would not “chuck” them in the adult church, these 3 questions beg for answers:

a). Is there a systematic curriculum for engaging and harnessing the strength of this demographic while still ministering the Word to them?

b). How teenage friendly are the instructors in their disposition and communication style?

c). What platforms are available within the church to support a sustained expression of their gifts in a language consistent with their generation, yet devoid of vulgarity?

Apart from Pastor Iren and a few others who refuse to be “bored to death” by effort invested into good music production, there are very few paying the required attention to this demographic – which by the way is obviously larger than half of the total present gospel population.

IMPACT OF GOOD MUSIC & SOUND

In the times past, good music in hymnal form, together with relatively audible sound support served as a worthy alternative to sustain our attention as teenagers. We also had circles such as the TEENS club and multiple functional teens choral groups where our energies were deployed. We were blessed to have well-trained children’s teachers like Mrs Ogundimu, Aunty Okida, Uncle Imo, Mrs Ofodile, Mrs Fowowe, Mrs Onile, Mrs Odebunmi, Mrs Ibiyemi, CEM and many others, under whose oversight many generations of teenagers were shaped and prevented from vices through the instrumentality of great music.

We were guided in the selection of songs that spoke faith, encouraged declarations and hone our musical skills. Productive interactions made us eager to get to church, discover other ministries and gainfully deploy youthful energy for games/quizzes.

TRANSITION QUIETLY HAPPENING

Very many gospel musicians now stay away. By extension, many lovers of good music prefer to stay home. The numbers are growing exponentially by the day, like it happened in the 90s. This is either because of the absence of appropriate priority placed on good music and sound infrastructure, absence of requisite manpower training, ?unavailability of deployment platforms or a healthy combination of some of the aforementioned.

JEDUTHUNS, HEMANS & ASAPHS' RAPID RELOCATION

Selected individuals, just like Aholiab and Bezaleel, upon whom the wisdom and understanding to equip have been placed by God, are exiting by the number. About 100 can be summoned within a maximum of 5 telephone calls . They now operate from the flanks and remain interactional with each other. Every other person now tries unsuccessfully to fill this gap. Sudden decisions are made to bring accomplished worship leaders for this purpose. Masterclasses are arranged where very little is achieved in terms capacity built. Many simply speak for the cameras, or are just not equipped for such impartation.

PARTING BARS

Once upon a time, when we were told not to engage in an act, we were presented with a worthy alternative as consideration. Today, if a brother was listening to “m:m:m:s:-:mrd:rd” for instance, what would pass as a worthy alternative groove for groove? Obinigwe? The days when you could depend on the host musicians for every and any musical need are far gone. Musicians who cater to any other need apart from mainstream worship in church are perceived as less anointed. The hands at home are discouraged from the injunction in Luke 19:13b. However, when convention presents, "The Eagle" who had proven his ministry "flying" outside Jerusalem, is not only the preferred choice, but becomes "the adopted son". The list of loop holes are endless. Acknowledgements are in order for the good job being done by the likes of DMo, and his contemporary gospel DJs to provide alternative gospel grooves from a Disk Jockey standpoint.

?OUTRO

This gentleman transited as an accomplished musician, one whose impact is obvious in almost all mountains of influence. Exactly what Sammie Okposo stood for, that need to transition, has presented again. This time, it is not from Orthodox to Pentecostal platform. Guys are isolating. Before long, they could head “down to Egypt”. A plan to mitigate this needs to be aggregated. This time, it can not be an individual endeavor - from the musician standpoint. It also cannot be effective from the flanks. Imagine all of what was impacted because someone stayed and operated from within - in spite of all.

Every content drafted is entirely my perspective on the subject matter with each character named being real. Specific personalities have been tagged as citation, should there be a need to validate my assertions. Sammie Okposo left most of us speechless.

I will always remember the gifted and happy-go-lucky guy, who stood on the global stage, spoke like Pastor Paul, rans riffs like the combination of Rance Allen and John P.Kee, while deploying these qualities for the propagation of the gospel – especially through any Nigerian dialect. ??

?

The End.

Daniels Adeloye

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