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In 1962, he released the song 'Salome' under Decca records. The song mixed traditional elements in Yoruba culture and urban life as major themes. The song was a major hit of his. Another song of his which was quite popular was Ka Sora (Let Us Be
Careful), the song is sometimes described as predictive
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I.K Dairo emergence at the end of the 1950s coincided with the rising euphoria towards independence. He was seen then as a premier musician who could capture the exciting moment preceding the nation's independence and briefly after independence. The musical taste during the period had graduated from
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language in some of their lyrics. The band's well organized and slick arrangement, Yoruba and Latin
America influenced dance rhythm and patronizing lyrics on the entrepreneur pursuits of patrons were factors that contributed in his rise to the height of the Juju and musical arena in the country. He
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I.K. Dairo later pursued various manual tasks after his firing and was able to save enough money to move to Ibadan, where Daniel Ojoge, a pioneer Jùjú musician usually played. He got a break to join a band with Daniel Ojoge and played for a brief before returning to Ijebu-Ijesa, most of the gigs he
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I.K. Dairo musical success in the 1960s, was influenced by different factors including a resort to include traditional sounds, the political life of the 1950s, which inspired him and a focus on Rhythm, beats and tempo that reflected different ethnic sounds and in the process leading to his appeal
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patrons at the venue, I.K. Dairo showcased his style of jùjú music and earned attention and admiration from other Yoruba patrons present, many of whom later invited him to gigs during cultural celebrations or just lavish parties. In the early 1960s, he changed the band's name to Blue Spots and he
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where he started work there as a pedestrian cloth trader and played music with a local group on the side. One day, while his boss was away traveling, I.K. Dairo decided to join his fellow friends to play at a local ceremony, unknowing to him, his boss was coming back that same day, the boss was
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154:. On his journey, he took along with him a drum built by his father when he was seven years old. By the time he was residing in Ijebu-Jesa, he was already an avid fan of drumming. When he was unoccupied with work, he spent time listening to the early pioneers of
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I.K. Dairo's musical career entered the fast lane when he founded a ten piece band called the
Morning Star Orchestra in 1957. In 1960, during the celebration of Nigeria's independence, the band was called on to play at a party hosted by a popular
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had emerged as the popular acts of the period. However, Dairo continued with his music, touring Europe and North
America in the 1970s and 1980s. He was also involved in a few interest groups dealing with the
146:. He attended a Christian Missionary primary school in Offa, however, he later quit his studies due to a lean year in his family's finances. He left Offa and traveled to
262:, which was played by I.k., and he was the first high-profile musician to play the accordion. Other musical instruments used by the group includes, electric guitar,
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His interest in jùjú music increased over time, and in 1942, he joined a band led by Taiwo Igese but within a few years, the band broke up. In 1948, he went to
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the appreciation of solemn music to a much more intensified sounds. The period was also one of the lavish parties with musicians as a side attraction.
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Christopher Alan
Waterman. Jujú: : a Social History and Ethnography of an African Popular Music, University of Chicago Press, 1990. p 101.
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Afolabi Alaja-Browne. 'A Diachronic Study of Change in Juju Music', Popular Music, Vol. 8, No. 3, African Music, Oct. 1989. p 5.
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to showcase the various talents in jùjú music. During the period, he was able to form his record label in collaboration with
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in its warning about the pitfalls of unreasoned governance. He also released other popular hits including one about Chief
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group. His band experimented and played with musical styles originating from different Yoruba areas and also used the
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Dairo's stay at the top in the
Nigerian music scene was short lived, by 1964, a new musician;
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furious with the act and he was relieved of his job as a result.
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multi-part sound with melodies and text from
Christian sources.
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Article MT111 – from
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of musicians. Between 1994 and 1995, he was a member of the
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also employed musical syncretism, mixing the Ijebu-Ijesa
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Partial discography of I.K. Dairo and the Blue Spots
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and achieved critical and popular acclaim and fame.
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118:(1930 – 7 February 1996) was a Nigerian
412:Ellison, Jen. Dairo Brings Juju Sound to UW,
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158:in the area and experimented with drumming.
540:Members of the Order of the British Empire
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570:Nigerian expatriates in the United States
174:plays with Ojoge's band were at night.
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192:also won a competition televised in
130:I.K. Dairo was born in the town of
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204:Influences and inspiration
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484:In memory of I.K. Dairo
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508:27 March 2007 at the
367:I Remember My Darling
266:, double toy, akuba,
142:before migrating to
113:Isaiah Kehinde Dairo
25:Isaiah Kehinde Dairo
499:IK Dairo biographia
378:Se B'Oluwa Lo Npese
338:Music of the World
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388:Mo ti yege
334:I Remember
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156:jùjú music
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