In the Nigerian Yoruba gospel song genre today, these two lovely instruments are on the top of the list.
And the Christendom feels so blessed to have them.
To cut off on unnecessary details and gist, this post dissects the direct difference between the duo.
One may readily think or say that Tope Alabi is better, in success wise, than her colleague Sis. Shola Allyson. I feel almost 6 out of 10 will agree with this view.
In short, and undoubtedly, Tope has come to be more popular than Shola. And she has produced more songs too.
Despite the fact that Sola Allyson studied Music Technology (majoring in voice and minoring in music), Tope seems to be ahead of her.
I wish to share my viewpoint as per the factor responsible for the difference.
Music is life, we say. No one wishes that life goes off. Everyone wants to enjoy life. We wish to merry.
There’s one thing I’ve discovered and have closely observed in Tope Alabi’s songs. She does that a lot and I think its almost all the time absent when Sis. Shola sings.
What is it that I’m talking about? Let’s take a brief look at the duo’s background information.
Tope Alabi ( Ore ti o common/Agbo Jesu) was born on 27 October 1970. She is a Nigerian gospel singer, film music composer, and professional actress.
Although Tope was formerly a member of the Jesters International comedy group, she later came to base solely on gospel music after she encountered Christ as Saviour and Lord.
Few of her dicography includes, Ore ti o Common (2001), Iwe Eri (2003), Agbara Re NI (2005), Agbara Olorun (2006), Angeli MI (2007),
Kokoro Igbala (2008), Kabiosi (2010), Agbelebu (2011), Oruko Tuntun (2015), Yes & Amen (2018).
Sola Allyson-Obaniyi is also a Nigerian gospel singer and song-writer. In 2003, a film titled Eji owuro was released. She did the soundtrack (Eji owuro) for the film and that brought her into limelight. She also got married to her husband that same year.
Her popular songs include: “Eji Owuro”, “Obinrin Ni Mi”, “Aseye”, “Isinmi”, amongst others.
Apart from being a singer, she is also a voice coach , counsellor and a consultant. She also does soundtrack for Nigerian movies but not anymore tho.
Allyson became a backup singer at 13. And she worked with the like of Yinka Ayefele , Gbenga Adeboye, Pasuma , Obesere and Daddy Showkey.
Her Discography library include Eji Owuro (2003), Gbe Je F’ori (2005), Ire (2007), and Adun (2012) to mention but few.
Many lovers of Tope Alabi also love Shola Allyson. Yes, but they’ve got their differences.
This post isn’t to rate them. No. But to state my viewpoint as per why Tope Alabi may be preferred by many over Shola Allyson.
Here is what I’ve observed. Like I said, music is life. We enjoy it more when it flows in smooth, uninterrupted rhythms.
I don’t know if you’ve noticed that Tope Alabi rarely goes mute in her songs. I don’t think she’ll ever be silent for so long a second. She sure know how to create impressive bridges in her songs and captivate every moments on stage. You will surely have goose pimples when she start doing her regular oriki and manipulating big deep yoruba words together.
Lay hold of any of her song and observe this: Tope Alabi will never be silent for more than 15 seconds.
And particularly for me, that’s a plus. You can’t have a vocalist who sings along with her backups and go mute at the same time with them, and expect any “Spirit” to flow. That’s not to say Shola Allyson isn’t doing bridges too. But Tope is more frequent.
When you listen to any of the duo’s songs with this point of mine in mind, I would have convinced you that it isn’t because of voice, greater calling, more money, connection, or whatever, that Tope Alabi seems to be preferred over Shola Allyson, but due to this little secret.
Both of them are very good in their various callings, we are just making an illustration.
Thanks for reading through. Don’t forget to like, share and follow our Posts.
Be the first to comment