He is known for his distinctive style of guitarplaying, above all his percussive right-hand technique which is similar to bass player's slapping technique. He's also famous for playing most of his live shows with a bare torso.
Son of a chief Osodolamu Sanyaolu in a Yoruba tribe and successful industrialist, Keziah (Olufemi) spent his early childhood in a large family in the semi-Muslim part of Nigeria, close to the city of Lagos. From a young age he was being prepared to follow his father's footsteps and was expected to have an academic career. Therefore his father enrolled him in a Public School in London and Keziah left Nigeria at 8 years old to be educated in England.
"I had to find a way out of all that bullshit, and music was it!" By the age of 13 he discovered the old school piano and taught himself how to play and write songs. Three years later he switched to the guitar, neglecting his studies more and more. After scraping through exams he went against his father's wishes and family tradition even more by skipping school and trying out his songs in the streets, clubs and London Underground, constantly avoiding the police, the Immigration Department - and his own relatives.
Keziah played mostly improvised sets with tenor Saxophone player Kevin Wood at the Red Eye club in Lewisham, south London at least three times during 1988/9.
Keziah led a bohemian life for several years instead of the one envisaged for him. "Lose all time, love your mind, free your soul!" (from his song Free Your Soul). Moving from London to Paris, accompanied by his guitar, he acquired an excellent reputation as a musician and performer with a unique style. In 1991, while playing in the Paris Metro, Keziah is discovered by the French music label "Delabel" manager. In 1992, Delabel signed Keziah for his first album to record it in Paris, "Blufunk is a fact," including the worldwide success of Keziah's first single "Rhythm is Love." Obviously, Keziah' Parisian subway experience was instrumental to his skyrocketing career, as clearly stated in his official biography.
Keziah often cites Fela Kuti and Jimi Hendrix as important influences. Also Keziahs major influences were Michael Jackson[citation needed] Keziah is not in support of Drm ,he thinks music should be shared no matter the cost.and people in third world countries should listen to music to help them,he alos works with these people to and play music while doing it.
Keziah Jones also paints and writes poetry. He’s a talented[citation needed]photographer and he produces short films, one among them entitled "BLACKSPEEDTEXT." This film, his music and the other facets of his artistic life reflect his experiences on the streets.
Keziah was married to Anglo-Nigerian singer Akure Wall in 1994. they separated in 1996.
72 Kilos
Keziah Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
From honey to the honey bee,honey bee
to honey
From this "Black Orpheus" and his guitar
to Eurydice
From J'J from good times the dope
to the Black Superhero
72 kilos of nigerian weed
in "Paree"
From immigration to Mc Donalds with a
false identity
From an university degree to driving a taxi
72 kilos of nigerian weed
I'm there in the place where they do the "419"
I'm Mobutu's tailor I am Mrs Sanni
Abacha's Shrink
From cursed be Canaan in the book to
the "Blacker The Berry" thing
72 kilos of nigerian weed
From Brazil Cuba Yoruba to Afro paradise
From Ra-ra Orisha to Fela and his "wives"
From music war and sexy books to a nuclear
form of "rice"
72 kilos of nigerian weed
Nigerian weed
The lyrics to Keziah Jones's song "72 Kilos" are a commentary on the struggles and experiences of the Nigerian diaspora. The song starts with a reference to the sweetness of honey, and progresses through a series of cultural touchstones and experiences. The first verse references Black Orpheus, a 1959 Brazilian film set in a favela and known for its bossa nova soundtrack, as well as J.J. Evans from the 1970s sitcom Good Times. These cultural referents give way to darker ones, such as the singer's involvement in selling 72 kilos of Nigerian weed, and his experience with false identities and illegal activities. The lyrics then make reference to the 419 scam, through which people are duped into giving away their money, as well as to the oppressive regimes of Mobutu Sese Seko and Sani Abacha. The song then turns to Africa and its rich cultural history, name-dropping religions such as Yoruba and referencing Afrobeat pioneer Fela Kuti. The final line brings the song back to its starting point, with a focus on Nigerian weed.
The lyrics to "72 Kilos" reveal a complex and nuanced understanding of the Nigerian diaspora, both its experiences and its cultural history. By referencing both popular culture and political events, Keziah Jones presents a broad picture of what it means to be Nigerian outside of Nigeria. The lyrics also highlight the struggles that many immigrants face, from the difficulty of finding work to the pressure to assimilate and hide one's identity. At the same time, the song celebrates the richness and diversity of Nigerian culture, and the resilience of its people in the face of oppression and hardship.
Line by Line Meaning
From honey to the honey bee,honey bee
to honey
From the sweetness of life to the source of the sweetness, and back to the sweetness itself.
From this "Black Orpheus" and his guitar
to Eurydice
From the musician and his instrument to the muse he seeks to revive with his music.
From J'J from good times the dope
to the Black Superhero
From a fictional character who embodies the stereotypes of black people to a real-life hero who defies those stereotypes.
72 kilos of nigerian weed
I'm rugged in London/Tokyo, I'm rugged
in "Paree"
Despite the illegal trade of Nigerian weed, I am still able to travel and thrive in major cities around the world.
From immigration to Mc Donalds with a
false identity
From struggling to immigrate to a foreign country to having to resort to using a fake identity to survive.
From an university degree to driving a taxi
72 kilos of nigerian weed
Despite achieving higher education, I am still forced to resort to illegal activities in order to make ends meet.
I'm there in the place where they do the "419"
I'm Mobutu's tailor I am Mrs Sanni
Abacha's Shrink
I am well-versed in the scams and corruption rampant in Nigerian politics, and even have close relationships with some high-profile figures.
From cursed be Canaan in the book to
the "Blacker The Berry" thing
From a biblical curse on a race of people to a modern-day critique of racism and colorism within the black community.
From Brazil Cuba Yoruba to Afro paradise
From Ra-ra Orisha to Fela and his "wives"
From the diverse cultural roots of Africa to the vibrant artistic and musical expressions that have emerged.
From music war and sexy books to a nuclear
form of "rice"
72 kilos of nigerian weed
Despite the richness of African culture, the reality of nuclear weapons and the drug trade threaten to overshadow and destroy it.
72 kilos of nigerian weed
Repeated throughout the song as a reminder of the illegal activity and danger that coexists with the beauty of African culture.
Lyrics © Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
Written by: KEZIAH JONES
Lyrics Licensed & Provided by LyricFind
Ludo FIERFOL
Me to 72 Kg Keziahhh :)