photo: wazobia max tv · cc by 3.0 ↗Majekodunmi Fasheke grew up singing in an Aladura church choir in Benin City before fronting the reggae group Jah Stix, and by the time he went solo in 1987 he'd built a sound around Bob Marley's vocal phrasing, Jimi Hendrix's guitar theatrics and Fela Kuti's horn-and-groove instinct — a hybrid he called 'kpangolo.' 'Send Down the Rain,' his 1988 breakthrough, made him Nigeria's biggest reggae star and earned him the nickname 'The Rainmaker'; a decade later his Rainmaker album (Tuff Gong, 1997) folded in an unmistakable tribute cover of Hendrix's 'Hey Joe.' He toured and recorded with artists from Tracy Chapman to Beyoncé before his death in 2020, having spent more than three decades as Nigerian reggae's most visible ambassador.
Fashek's own biographies describe him as vocally similar to Bob Marley and directly influenced by him; that debt shows up as a loping reggae backbone and a plaintive, Marley-adjacent vocal delivery across his catalog, most famously on his signature hit.
listen forPlay Marley's tender, rolling 'No Woman, No Cry,' then Fashek's 'Send Down the Rain' — both ride an unhurried, one-drop-style reggae pulse under a vocal built to ache.
Fashek cited Jimi Hendrix as a formative guitar influence and paid it off directly on his 1997 Rainmaker album with an extended, guitar-heavy cover of Hendrix's 'Hey Joe,' reportedly a staple of his U.S. tour sets.
listen forPlay Hendrix's original, guitar-forward 'Hey Joe,' then Fashek's own expanded cover of the same song — the reggae-inflected details change, but the searing, guitar-as-lead-voice showmanship carries straight through.
Sources on Fashek's career list Fela Kuti among his key influences; it surfaces more in stance than sound — Fashek's anti-apartheid protest single picked up the same tradition of using Nigerian popular music as blunt political address that Fela pioneered.
listen forSet Fela's hard-driving, horn-led protest track 'Zombie' against Fashek's 'Free Africa, Free Mandela' — different genres, same conviction that a song can double as a direct political statement.