Edaoto

Monday, September 15, 2014

Use your favorite EDAOTO's song as callertune on MTN network!!! Text the codes below to 4100;
711416 = Feni Foro
711417 = Blackman

711418 = Stand Up
711419 = Had I?
711420 = Maromikiri
711421 = MSS
711422 = Push On
711423 = Somi Edumare

Monday, September 1, 2014

ETISALAT

BLACKMAN
EDAOTO
7052426

FENI FORO
EDAOTO
7052427

HAD I
EDAOTO
7052428

KAJOWAPO
EDAOTO
7052429

MAROMIKIRI
EDAOTO
7052430

SOMI EDUMARE
EDAOTO
7052431

STAND UP
EDAOTO
7052432
Download Instruction: Send the tune code to 251, e.g to download STAND UP by EDAOTO, send "download7052432" as a text message to 251.

Kindly find below your codes on Airtel

AIRTEL

	0285680	BLACKMAN	EDATO
	0285681	FENI FORO	EDATO
	0285682	HAD I	EDATO
	0285683	KAJOWAPO	EDATO
	0285684	MAROMIKIRI	EDATO
	0285685	SOMI EDUMARE	EDATO
	0285686	STAND UP	EDATO
Download Instruction: To subscribe on Airtel Send your choice tune code preceded by the prefix Buy to 791 e.g to download STAND UP intro send Buy 0285686 as a text message to 791. PLEASE NOTE THE SPACE BETWEEN BUY AND THE CODE

A personal perspective
On CriticallyspeaKing
by Ajayidami

Edaoto is a Yoruba noun that loosely translates to weird one, different kind or simply maverick. This is what Mr Agbeniyi is, he lays no claim to not being an outlier in the world of dread-locking wearing, guitar-wielding musicians. He has carefully cleared his path as a musician, carrying his influences around like the graffiti on his guitar with style, stark aplomb and effortless charisma.
Before he waxed a studio album, he had been gracing stages with his different kind of Afrobeat. His is an alloy of the big band orchestra laced with chirping of Yoruba folklore.

His recipe is such that it seems Yoruba folklore was not initially part of the Afrobeat potpourri; he blends his seamlessly and makes it the rally point of his music. His music is sometimes conscious, often times rebellious, but at all times delightful. He has successfully stamped his insignia into his sound such that it is an abiding signature; perhaps this is why I find it needless for him to begin his album with a skit introducing himself as Edaoto—we knew that already!
The ingenious mature Afrobeat sound of Stand Up is next up; a wake up call for collaboration to fight the draconian arrangement that stifles our existence.

Afrobeat is successful when good music blends seamlessly with the message of rebellion, upheaval and a stirring of our collective social conscience. Edaoto and The Afrogenius Band achieves this most of the time.
The soft mushy issue of love is quite unusual in Afrobeat except one wants to use Lagbaja as a standard. Edaoto often writes love songs; might I just comment on his rather loose song-writing here which is reminiscent of Fela’s lyrical content—improvisation is the dominant language, but Edaoto typifies himself by deploring Yoruba as his lingua franca, that desire and assertion of an ethnic identity is rife in Edaoto’s consciousness. That said, Kajowapo is perhaps his most successful love song and the most unusual Afrobeat love song.
If rebellion and love are the first two tiers of Edaoto’s musical wardrobe, the last tier will be that of social advocacy. His music boils with societal issues and he finds an avenue in his lyrics to point out the salvation way like a moral compass. Listening to songs like Feni Foro and Maromikiri, one comes away with life lessons.
Edaoto’s music is a different and tasteful kind of Afrobeat that will travel beyond the scope of his expectation.