Oyeyinka Fabowale
Listening to Yoruba song goddess, Sola Allyson’s Imuse (Fulfillment), one could probably understand why the songstress agonised at having to offer her latest work free of charge to the public, most especially her numerous fans.
Allyson had, shortly after leaving the studios last year, announced that God instructed her to freely give copies of the album, which ran into several thousands, to people home and abroad at no cost.
The divine order, the singer confessed in series of statements online, she found a bitter pill to swallow, considering the huge sum of money, time and sweat that went into the production. But she submitted in the end and gladly began the mass distribution of the album, with the jackets marked “Not for sale”.
To Allyson, the gesture is a worthwhile sacrifice of thanksgiving to her enabler and source of her gift, God Almighty. And this view finds symbolic expression in the beautiful musical package, which the singer characteristically devotes to evangelism – praising and singing of God’s goodness, greatness, omnipotence, favour, forbearance, love and compassion, with testimonies from His role and transformative impact in her own personal and professional lives!
She gives a remarkable touch of difference to this trademark with the array of new and delightful compositions complemented by a collage of popular choruses in the public domain featured in Iyin, track 6 of the 11-tracker.
Although, the rest of the songs are vintage Allyson, the lady who, about two decades ago, sang her way to stardom with her debut, Eji-Ewuro, the soundtrack to Nollywood diva, Bimbo Oshin’s movie of the same title, particularly proves her mettle as a professionally trained musician in Gbojule (the opening track), Olododo (track 5) and Ebe (track 9) wherein her vocal prowess is on display.
The singer’s ingenuity and versatility are also evident in her eclectic use and blend of modern, classical and African traditional musical instruments to create harmonious rhythms and beats, with classical, soul and indigenous flavours.
Allyson’s signature as a Yoruba cultural ambassador is all over the album. Aside the lyrics that she lavenders with generous dose of traditional lore, idioms and proverbs, the call of heavy percussion and scintillating messages of the talking drums and visceral ‘Bata’ is simply irresistible to the ears and perhaps… the feet.
However, the icing on the cake is a duet ‘Eji Owuro’ performs alongside fellow folk singer, Adekunle Gold. Entitled Alujanjankijan, this is a bonus track featuring a Yoruba folk song that preaches the need for proper upbringing and education of the child, while stressing the implication of parental failure in this respect.
Perhaps for the first time, Allyson openly sings and confesses Jesus Christ as her Lord and Saviour in this album. In Ebe, she not only calls Christ by name, but also leaves no one in doubt as to who she refers, addressing Him adoringly as “Son of David!” This should probably pacify the singer’s largely Christian fans, many of who harangue her for never directly acknowledging the “Lord” in her songs as other gospel singers do. But then, Allyson has always resisted being pigeonholed by critics, as she insists her brand is not the conventional gospel music.