For almost 50 years, the timeless classic “Odun n Lo Sopin” has been a staple of Nigerian parties and celebrations, resonating in Christian homes, churches, and community gatherings, and evolving into a cherished national tradition that heralds the end of the year.
However, in a recent interview, Evangelist Mama Fasoyin, the iconic leader of the CAC Good Women Choir, revealed a surprising truth: she was not the composer of the classic track.
At 85 years old, Mama Fasoyin set the record straight during an interview monitored by Per Second News.
The revelation debunked a long-held belief that she and her choir composed the timeless song.
According to her, the origins of the anthem lie within the Christ Apostolic Church (CAC) itself.
“The song does not belong to me or any member of the Good Women Choir,” Mama Fasoyin explained, adding that “Odun n Lo Sopin” originated from one of the CAC’s end-of-year crusades in 1979, held in Ibadan, Oyo State.
The chorus, which forms the heart of the song, was already in existence before the choir popularized it.
When asked about her role in the creation of the track, Mama Fasoyin clarified that her contributions were minimal.
“We did not compose the song,” she said. “The chorus came from the crusade, but we added two verses to complement it.”
The verses she added blended seamlessly with the original chorus, giving the song a fuller structure that has since resonated with generations.
Mama Fasoyin emphasised that even the original composer of the chorus remains unknown to this day.
“Nobody really knows who composed it,” she noted.
The song, she said, emerged spontaneously during the 1979 crusade, a reflection of the communal worship culture of the CAC at the time.
Despite not being the original composer, Mama Fasoyin and the Good Women Choir played an instrumental role in popularising the song.
Their rendition gave the anthem the polish and recognition it needed to transcend its initial setting and become a staple of Nigerian end-of-year celebrations.
The Good Women Choir’s recording of the song in the early 1980s brought it to households across Nigeria.
Mama Fasoyin’s rich and soulful delivery, coupled with the choir’s harmonies, ensured the track became synonymous with the reflective mood of the New Year season.
Over the years, the song has been covered by numerous artistes and choirs, but none has managed to eclipse the warmth and authenticity of the original rendition.
For many Nigerians, “Odun n Lo Sopin” is more than just a song; it is a symbol of gratitude for the year gone by and hope for the year ahead.
Mama Fasoyin’s revelation added a new layer of appreciation for the song.
The 85-year-old evangelist also expressed gratitude for the role the song has played in her life and ministry.
“It is a privilege to be associated with something so impactful,” she said. “But the glory belongs to God and the CAC.”
Her disclosure has sparked conversations about the role of collective creativity in religious music and how such songs often transcend their origins to achieve widespread acclaim.
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