Q-Where was Nelson Brown during that time?
A-He was a sound engineer then, and I met him the first time when I went to the studio with Michael Jaja, Daddy Fresh and Showkey. They accompanied me to a studio Aegos, in Apapa for my recording. He engineered my job, but initially he could not understand the music pattern I was trying to play that day.
He was confused because what I was playing turned his head up side down. The following day, instead of using him I now brought Keshi because this guy was already into Reggae music, while Brown then was only into gospel music. I think that was why he couldn’t understand my style then.
Later, I also brought in Joe Ogas, Sopa Briggs and Nelson Brown to join in producing that my first album and the interpretation of what I was trying to sing and play came out well. So it was me, Joe Ogas, Sopa Briggs, Nelson Brown, Keshi, Michael Jaja and Ray were the first production crew of Ajegunle music.
And it happened that when me, Showkey and Daddy Fresh had a problem, Fresh now moved to Nelson who took his job to Harry Mosco’s studio where he produced him and I continued with Showkey, but at a stage I invited Nelson to come and assist to play keyboard in Showkey’s work, which he did.
Q-So you co-produced the album with him?
A-Yes, but do you know another funny thing that happened? Could you believe that Daddy Showkey later turned to do same thing Fresh did to him to Tallman. See, what I am just trying to narrate to you was how some of us sacrificed to introduce Ajegunle musicians to the world, and how some of them tried to outsmart the others. During that time, because I was carried away working to make them what most of them are today, I forgot to promote my album for the sake that my mission is to give them a say in the Nigerian music circle.