Kimono: Return of the Rhumba Style man

What would Nigeria have done without Ras Kimono and his kindred in the Reggae music genre? In the 80s through the 90s – when the music industry had lesser financial and media muscles as it has in these days of hip-pop and afro-pop – Ras Kimono with such other popular adherents like Majek Fashek (Prisoner of Conscience), Orits Wiliki (Koleman Revolutionary), Victor Eshiet (Mandators), Andy Shurrman, Peterside Ottong (late), Evi Edna-Ogoli, among others put Nigeria’s name on the global stage of Reggae music.
Ras Kimono is particularly remembered for his unique heavily percussive reggae idiom, which sounded more like a cross-over between reggae and Afrobeat music. His form he had christened Rhumba Style – and he issued no les than six albums to prove his control of that peculiar form.
In no time, he was the very top of the bill and no concert – Benson & Hedges, Lekki Sunsplash, Surprise 89, Badagry Black Music etc — was complete without the Massive Dread Band, which he led. Particularly the three-woman format of his back-up vocal also helped to create an identity for the band. His wife, who also doubled as the manager, Sybil (herself an accoimplished dancer) was the centre of the trio, thus reminding of the role of Rita Marley in the I-Three back-up of Bob Marley’s band.
While his career blossomed at home, Ras Kimono’s Rhumba Style ran ring around the West Coast of Africa, extending also to the East and South, where he went on to contest popularity with the like of Lucky Dube (late) in South Africa.
But at a time the music industry seemed to have capitulated to the intense pressure from the economic fronts, coupled with the prostrate state of the entertainment sector, following instability in the political and hence social situations in the country, Ras Kimono like many of his comrades on the music then, vanished from the public sight.
The talk at first was that he had been campaigning his trade in the West, and so he was always going out and coming in, while still maintaining a presence on the local music scene.
However, about four years ago, Kimono, acknowledged as one of the most energetic performers on the Nigerian stage, going by his sweat-milking, muscle-rippling dance forms, disappeared from sight.
The kingdom of Rhumba Style went hollow, robbed of its once vibrant voice. Perhaps, the vacuum was only filled by the phonemonal ‘ghetto crooners’ -- Mighty Mouse, Junior and Pretty, Father U-Turn, Daddy Fresh , and in particular, Daddy Showkey, whose career had blossomed in the late 90s – about the time Ras Kimono and his fellow Reggae lords seemed to be slipping to the back seat or sneaking out through the borders.
Recently, Ras Kimono washed up strongly on such web interactive forums as myspace and facebook. He started talking about a new album project that he was about launching, and that was where LIFE encountered him and took him up on the currency of his career. Excerpts:

What have you been doing in the past four years, in terms of your music and career?

I have been trying to re-discover myself in terms of, ‘Is itthis music will I do to the end of my life?’; and secondly I have been playing a lot of concerts here (USA) to make ends meet; and sacrificing my career to grow with my kids and at the same time learning the tricks of musical promotions.

 Why did you decide to shut off from the music scene where you were a king and still remain a powerful force, inspite of the absence?

No, I did not shut off; however, when I left the country, the music scene had become frustrating for most of us who played pop music. Except for those who were playing fuji, highlife and juju —music for parties — there was nothing for us then. But thank Jah that today it’s a different story. Music is back in full force and I am here to reap what I sew.

 What were the specific factors that led to your exit from Nigeria — poor economy, unstable polity, piracy etc?
That is what I have said in number two answer...

Could it be true that it was because you saw an increasing non-popularity of your brand of reggae? In other words, you could not compete with the new brand of music that Nigerians were developing taste for — the so-called hip-hop?

The so-called hip hop was not born then when I left, and I am not perturbed by what is happening today because none of these new musical youths can play reggae music the way I am playing it, for real and that is the bottom truth.

To what extent did the absence of a proper music industry with functioning infrastructure of distribution, marketing, protection against piracy influenced your decision to relocate?

I decided to relocate not to stay for so long because I know that everything has time and season and he who fights and runs away lives to fight another day. Yes, the un-certainty of the music companies and pirates summed up my decision at that point in time.



In these four years, how active were you in music production — composition, performance etc

As I said earlier, I have done a lot of shows here in America like B.B. King Night Club in New York, Zanzibar Night Club in Washingon D.C. and I travelled to Germany to play in Essen; Austria to play two shows in Vienna and another one in Sevilla, Spain. And again, I’ve just finished the recording of my new album, which I co-produced with Alex Zitto in his state of the Art Studio in Minneapolis, Minnesota.

 What do you envisage as likely challenges in trying to relaunch on a music scene that is now heavily populated by young, vibrant and energetic hip hop acts with all the capacities for hypes etc?

As I said earlier on too, I am not perturbed because none of these guys play reggae music, so, my space is always there for me. It’s just another matter of hypes and promotions... hat is all I need to re-launch myself into the hearts and minds of the people.

What are the specific magic in your current work that you think will win your fans over?

 My usual self and my brand of reggae music -- not trying to copy or imitate the young ones with what is happening in the industry now; strictly reggae music. You know that Kimono Style is different from the rest...

Your Rhumba style’s fans must have now moved over to other music form, how do you ensure their return to your fold? Also many of them must have aged by now, both physically and in terms of taste, how do you plan to redirect them to you?

 Now, what I should focus or target are the new younger ones who don’t know much about me because I know that some of my old fans will still love me or will like to see me re-appear, so with them, old fans, I dont think I have a lot problems to worry.

 Can Ras kimono still do the rhumba hopping dance style of old, now that age must have tamed those feet and muscles?

Man, you make me laugh, If Sunny Ade who I adore and cherish so much over the years can still do his thing, who the hell is Ras Kimono that can’t do his dance and prance anymore? Man, give me a break and be ready to see me in my return to the music circle...

 What would you expect to be in place for a viable industry to emerge for music?

I expect to see a lot of changes when it comes to government doing the right thing that we have been crying over all these years, by making sure they help us to curb the pirate sickness and make sure we get paid each time our music is played on radio and on televission and even newspapers too. These are all what I expect to see happen in the industry someday.
 
Other information you wish to share?

Thanks for making this question 12 because I come from the 12 tribes of Israel, which makes me a Simeon, brother to Levi.. Anyway my people watch out for the coming of Ras Kimono after his long Sabbatical leave in foreign land, Jah Guide and Protect I an I.



Ras Kimono loved to claim he was born in ‘Shanty Town’ Nigeria and ‘bred in the ghetto’. He said his encounter with oppression, brutality, hardship and inequality as a youth influenced the character of his cruisade and philosophy about life. “ That is why i detest injustice, corruption, favoritism and discrimination”, he says. And that is why, “Ras Kimono now goes around the world, propagating unity among humankind, irrespective of color, creed, religion, race or geographical boundaries”.
In truth, beyond Reggae, Ras Kimono has become a major voice for the much-touted coming revolution on the continent. He says, his “message is embraced by lovers of good, positive vibrations” while his ardent followers can be found amongst lovers of all kinds of music.
Kimono’s launched himself in 1988 with his debut work, Under Pressure debut album (Polygram International0. The album was a huge hit going on to win Gold Disc Award. The follow-up, What’s Gwan earned a Platinum Disk; and grabbed major music awards in Nigeria including: ‘Reggae Artist of the Year’; ‘Song of the Year’; ‘Album of the Year’; ‘Artist of the Year’.
Kimono has six albums to his credit
Kimono has moved from height to height, balancing high record sales with outstanding stage performances. He has taken his message out of Nigeria onto the world by playing major concerts in the United States, England, Italy, Kenya, Ghana and Papua New Guinea, where his Benson and Hedges stadium concerts attracted a record of 45,000 people per concert. He is an all-round performer who plays the guitar and saxophone. He has also emerged as a powerful composer, arranger and vocalist. He has developed his own style of root reggae music that skillfully blends his African roots with classical Jamaican rhythm.



Ras Kimono has performed with top reggae artist such as Shaggy, Shaba Ranks, Lee Perry, Lucky Dube, Culture, Inna Circle, Steve Wonder, Eve and K.C. and JoJo and a host of other international artistes.
In the United States, where he is currently based, Kimono has performed in reputable clubs such as New York’s Tramps, S.O.B. and MONDO Festival at the Central Park, B.B. King Night Club New York and Zanziba Water Front Washington D.C. He has also played at the Equator (Chicago) , Carabana (Houston), Masquerade (Atlanta) and in various clubs in St. Louis. Elsewhere, he performed at the PANAFEST in Ghana, URTNA in Kenya, ROTOTOM Reggae Sunsplash in Italy, Golden Tones Reggae Sunsplash (Lagos and Kano, Nigeria), Vienna (Austria) and Essen (Germany).
Kimono can be reached at: raskimono@hotmail.com