Download Taking My Time as a zipped file here. 1988's It's Time. . . (His Master's Voice HMV 066) is a little less successful in my opinion, being a little too dependent on the synthesizers for my taste. Still, it has its moments:
Sunday, December 5, 2010
Download Taking My Time as a zipped file here. 1988's It's Time. . . (His Master's Voice HMV 066) is a little less successful in my opinion, being a little too dependent on the synthesizers for my taste. Still, it has its moments:
Sunday, January 24, 2010
I've been meaning to post this recording for a while. Nwanyi Ma Obi Diya (Onyeoma C.Y. Records CYLP 016, 1984) by the Obi Wuru Otu Dance Group of Ihiagwa-Owerri is guaranteed to fill the dance-floor at any Igbo party it's played.
The vocal stylings of Rose Nzuruike (above) were what made Nwanyi Ma Obi Diya stand out amid a torrent of similar releases during the '80s, and what sends Igbos, and especially Owerri indigenes, into a swoon. Which is not to short-change the talents of the group itself (below) and especially its leader, Madam Maria Anokwuru. Released on an obscure Onitsha record label, it became one of the biggest-selling Igbo records of all time.
The title tune, opening up the medley on Side One of the album, means "A Woman That Knows her Husband's Heart." The ladies sing that good behavior is better than beauty and that a woman who knows her husband's heart will work with him when times are tough. "Ego Kirikiri" literally means rattling money and refers to the olden days when commerce was conducted with cowrie shells. The group sings "Igbo je akpo ya ojo mma - Igbos called it good money" and "Owerri nnu ahuna onwu ozigbo mmadu bara uba - Owerri, you see that not everyone was rich." Furthermore, "Onye ogazirila nya nwe mmeri - If you are rich you win." Side One concludes with a paean to Chukwuemeka Odumegwu Ojukwu, the leader of the separatist state of Biafra, who was pardoned by Nigeria's president at the time, Shehu Shagari, and allowed to return to Nigeria in 1980. The group welcomes Ojukwu back to the land of his birth and sing that they are overjoyed at his return:
Obi Wuru Otu Dance Group of Ihiagwa-Owerri - Nwanyi Ma Obi Diya/Ego Kirikiri (Cowries)/Onye Ije Nno-Ezennadi
On Side Two, the group sing that they are called Obi Wuru Otu - "One Heart for All." They entreat everyone to be careful, because God's way is where humans prove their value. "Ezuru Ezu Baa? Olu - Is everyone rich? No." "Omumu si na Chukwu - To have children is a gift from God." "Ochu Okuko Nwe Ada" is a typical Igbo parable. The lyrics explain that a person who chases a chicken will always fall but the chicken will never fall. If you plot against an innocent person you'll hurt yourself in the end. "Nwa nkpe ya na Eze gbaru mkpe, nwa mkpe atagbuela onye ya na afufu - If a widow gets into a conflict with a King, she will suffer much." The song calls on the Messiah, the one who made a blind person to see and a cripple to walk. Finally, the song "Elu Uwa Were Obi Oma" calls on the people of the world to be kind to get their just rewards:
Obi Wuru Otu Dance Group of Ihiagwa-Owerri - Olum Ado Ogu-Ezuruezuba/Ochu Okuko Nwe Ada/Elu Uwa Were Obi Oma-AFA Nna Na Nwa
Many thanks to my wife Priscilla for translating the lyrics of this record. Download Nwanyi Ma Obi Diya, complete with scans of the album sleeve, here. I have a couple more albums by the Obi Wuru Otu Dance Group, and will probably post them in the future.
Saturday, January 16, 2010
We were shopping on Nnamdi Azikiwe St. in central Lagos when we came across a fascinating sight: hundreds of men were prostrate and barefoot in the street, while overhead a speaker blared:
"The Muslim people are praying," my brother-in-law told me. "Look at them with their faces in the dirt. And these are the people who rule over us." Such was my introduction to Friday prayers at the Central Mosque in Lagos (right), and to the complex subject of ethnic and religious power relations in Nigeria.
Ash-had anna lah ilaha illallah
Ash-hadu anna Muħammadar rasulullah
Hayya 'ala 'l-falah
La ilaha illallah
Across from the mosque a stall was selling pirated pornographic videotapes with covers that left nothing to the imagination, while shoppers went about their business. The loudspeakers amplified every bit of static in the recorded call to prayer, which echoed among the surrounding buildings. The atmosphere was strange and other-worldly, to my eyes and ears at least. I've believed in no deity since I was twelve, but the spectacle stirred in me trembling feelings of awe and wonderment. For just a minute I was tempted to remove my shoes and join the believers in their devotions.
Needless to say, I don't share the casual bigotry reflected in my brother-in-law's remarks, but they speak to the fact that Nigeria is a nation increasingly divided along ethnic, political and religious lines. Northern Nigeria is predominantly Muslim while the southeast of the country is almost exclusively Christian. Other areas, such as the Yoruba region around Lagos, are more complicated in their religious allegiances. About half of the Yoruba are thought to follow Islam while the remainder adhere to various Christian denominations and traditional religion.
Since Independence Nigerian rulers have tended to be Northerners, hence the resentment of "Northern Muslim domination," and at times this friction has given way to violence, notably during the Biafran War of 1967-70 and recent conflicts over the introduction of sharia law in some northern states. Islam came to Yorubaland by conversion rather than through war, and relations among the various religious groups there have been mostly peaceful.
Among Yoruba Muslims in the 19th Century were a group of repatriated slaves from Brazil who have played an important role in the economy and politics of Lagos. Among the distinctive buildings they erected in the city, all of them now in disrepair, is the Shitta Mosque on Martins St. I took this picture of it during my 1994 visit:
Among various styles of Yoruba music which have their roots in the Muslim community are waka, performed by female singers, and apala and fuji, performed by men. While these styles derive from music performed during Muslim holidays such as Ramadan, they have tended to become secularized over time.
I picked up the LP Asalamu Alaekumu (Leader Records 82, 1992) by Sister Riskat Lawal and the Aaqibat Lil-Mutaqeen Society Group during my 1995 visit to Nigeria, and I'm not sure where to situate it within the spectrum of Yoruba Islamic percussion styles. This is clearly a religious recording and not the usual exercise in praise-singing (rather, it praises God rather than rich and powerful individuals), nor is it unique. I take it there are hundreds of recordings in this genre, but I'm not aware that they have a specific label.
No matter what you call it, I'm sure you will find Asalamu Alaekumu a first-rate example of Yoruba percussion music.
Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - Asalamu Alaekumu
Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - Allahu Allahu / Eyin Anobi / Ayonfe Oluwa
Sister Riskat Lawal & the Aaqibat Lil-Mutaqeen Society Group - E Gboro Oluwa / Omo Iya Ni Wa / Oro Shekh Adam-Oba To Ni Ike Lodo / Islam Esin Ola
Download Asalamu Alaekumu as a zipped file here.
Sunday, January 25, 2009
The Igbo people live in all parts of Nigeria, but are the big majority of the population (over 90%) in five states: Imo, Anambra, Abia, Enugu and Ebonyi. They also constitute large minorities in Rivers and Delta States.
The "Anioma" area consists of the northeastern corner of Delta State encompassing the Aniocha, Ukwuani and Ika peoples. These three ethnicities are all considered subgroups of the Igbo, as opposed to Delta's other nationalities, the Urhobo, Itskiri, Ijaw and Isoko, who speak distinct languages. Anioma Igbo are set apart from the mainstream of Ala Igbo not only by the Niger River but by varying shades of cultural influence from their neighbors to the west and south.
The idea, if not necessarily the name, of "Anioma," as a community and a culture predates the creation of the modern Nigerian state in 1914. In the early 20th Century the area gave rise to the Ekwumekwu movement, which resisted the imposition of British colonial rule in southern Nigeria. In the early '80s, the Anioma State Movement arose to call for the carving out of a new Igbo-majority state from old Bendel State. Since 1991, when Bendel was divided into Edo and Delta States, the demand for Anioma State has continued at a low boil. The map below shows where the various ethnicities of Delta State reside (click to enlarge):
It's hard to say if there is a distinct "Anioma Sound," despite the title of this post. One might discern a certain directness to the music of the area, as opposed to the relative subtlety of Igbo music east of the Niger, but I stress the relative nature of this comparison. After all, no one would call the music of Owerri's Oriental Brothers subtle!
The best-known Anioma musician is probably Ali Chukwuma, but the area has produced numerous artists who have achieved fame across Nigeria. Eddy Okonta of Akwukwu (left) is one of the foremost of these. He got his start with Bobby Benson's band and played trumpet on the great maestro's biggest hit, "Taxi Driver," before striking out on his own. In "Anioma," from his album Page One '81 (Phonodisk PHA09), Okonta throws his lot in with the movement to create Anioma State. ". . . Ours is ours and mine is mine. . .We pray to God so that we may achieve this. . .":
Eddy Okonta - Anioma
King Ubulu (picture at the top of this post) is another name that comes up frequently when discussing Anioma music. He was born in 1949 in Amoriji-Onitcha in the Ndokwa area, and formed his Ubulu International Band in the 1970s. He died in 2004. Here is a tune from his LP Ubulu '84 Special: Anyi Bu Ofu (Isabros ISAL 026, 1984). "Ogom Egbu Madu" means "my favor for you should not kill me":
Ubulu International Band of Nigeria - Ogom Egbu Madu
I mentioned in this post that I'm aware of only two female singers in the Igbo highlife genre: Nelly Uchendu and Queen Azaka. Why this should be, I don't know, and I can tell you very little about Queen Azaka, other than that, like King Ubulu, she is from the Ndokwa area. Here's a tune from her LP Umuwa Nweni Ndidi (Odec ODB 10L). I find the rhythm on this tune and the next couple interesting. And sorry about the skipping at the beginning of the tune. Bad warp!:
Queen Azaka & her Ebologu Abusu Mma Dance Band - Ukwani Amaka
Chief John Okpor may be just another obscure musician from the recesses of Delta State, but he's made a great recording here. Side One of Ife Nunoku Na Ju Oyi (Franco Records FMCL 003) doesn't let up until about two-thirds of the way through, when the title track segues into the slower-paced "Egwu Nde Oma."
Chief John Okpor & the Golden Tones Band of Nigeria - Ife Nunoku Na Ju Oyi/Egwu Nde Oma
When Priscilla was back home in Nigeria in 1989, she saw the band members unloading boxes of this LP out of the back of a truck. Of course, she knew I'd want a copy, and what a discovery it is! Eric Obodo heads up the Reformed Eti-Oma Dance Band, and their fast-paced sound is reminiscent of the Camerounian bikutsi style exemplified by groups like Les Veterans. The album is Ogbuefi Moses Okom (Mone MRLP 008).
Reformed Eti-Oma Dance Band of Nigeria - Onyeke Muni Nwa
This post has been delayed because Priscilla and I just haven't had time to sit down and do translations of the lyrics (the fact that these songs are mainly in the Ukwuani dialect makes this more difficult), so I'm just going ahead and posting anyway. If there is time I will update it later. In "The Anioma Sound Pt. 2" I'll be posting songs by Charles Iwegbue, Roganna Ottah and others.
Wednesday, October 15, 2008
No sooner had I mentioned that I was lacking two of Nelly Uchendu's legendary recordings, Love Nwantinti (Homzy HCE 005, 1976) and Mamausa (Afrodisia DWAPS 2066, 1978), than Uchenna of With Comb and Razor mailed me copies of both that he had located in Nigeria. If that weren't enough, he also enclosed a copy of Hosanna (Homzy HCE 039, 1979), a previously-unknown-to-me gospel album by the State City Singers, a trio featuring Nelly and her sister Bridget. Thanks, Uchenna! I owe you one (or two, or three).
Not only do all of these LPs differ in "feel," they contrast interestingly to the recordings featured in my previous post. The one constant is Nelly's glorious voice, an instrument that earned her the appellation "Nigeria's Golden Voice." I'm more than happy to devote another post to this great Igbo chanteuse, who was woefully neglected outside of Nigeria during her lifetime, and is in danger of being forgotten completely now that she has departed this world.
Love Nwantinti, Uchendu's first LP, is the recording that put her on the map after some years of celebrity in her native Enugu. It is actually credited to Nelly Uchendu and pianist/organist Mike Obianwu, and what a combination it is! Love Nwantinti is one of the few African records I've heard that feature piano prominently, a very interesting effect. The liner notes state that Obianwu had 45 years of experience under his belt as of 1976. Indeed, I'm wondering if he is the uncredited pianist featured on Celestine Ukwu's classic LP True Philosophy (Philips 6361 009, 1971). Producer H.N. Nnamchi writes, ". . . As some of these evergreen tunes gradually fading away hence I called Nelly and 'Uncle' Mike Obianwu to make this evergreen, exciting, top hits into an album for me and you to own in our own individual record library. . ."
We open up with a medley of three tunes, actually part of a six-song medley that comprises Side 1 of Love Nwantinti. In "Love Nwantinti" ("Small Love"), Nelly sings "My life's journey of love ("ije love") needs just a little more time." In "Ada Eze" ("The Chief's Daughter") she beseeches her best friend, "Ada Eze, come tell me what I should do in this world. What you have in your heart is love. . ." The chorus, "onyi mu oma,' means "my best friend." Finally, in "Onye Nwulu Ozuluike" ("When Somebody Dies, They Rest"), she sings "A bus has taken Joy to Sokoto in the North ["ugwu Hausa"]. A guest has no enemies. If another animal sees a monkey jumping and tries to jump himself he will be hurt. When somebody dies, they rest":
Nelly Uchendu & Mike Obianwu - Love Nwantinti/Ada Eze/Onye Nwulu Ozuluike
"Chukwu Onye Okike" ("God Our Creator") from Side 2 of Love Nwantinti, is basically a prayer: "God our creator, God our Lord, God who loves us, please help us. Please save us." I love the instrumental break & Obianwu's sharp piano work:
Nelly Uchendu & Mike Obianwu - Chukwu Onye Okike
Sharp-eyed readers will note that the track titles and recording information given on the label differ somewhat from the cover and titles given here (click the image to enlarge). I don't know why this is, but I have a hypothesis: After Nelly's smash debut at FESTAC '77, the original LP by "Uncle Obianwu and Nelly Uchendu" was reissued credited to Nelly Uchendu and Mike Obianwu with a new title and cover. As there were no doubt copies of the original pressing around, only the cover was reprinted. It's as good an explanation as any.
I had heard of Mamausa, but was unprepared for what greeted my ears after actually putting it on the turntable. Who would have thought that in 1978, after a tidal wave of soul and R&B had swept over Nigeria, people there would still be making first-rate dance-band highlife? Interesting also is the presence in the lineup of Ken Okulolo, who has been a respected purveyor of African music in the San Francisco Bay Area for many years now.
"Mamausa" seems to be a nickname, perhaps referring to someone from the North of Nigeria (the song is sometimes referred to as "Mama Hausa," and since the hard "h" sound is not usually pronounced in Igbo, this seems plausible), probably an older lady. Nelly sings to her friend, ". . . I'm so very lost, I'm so much in love. Mamausa, beautiful woman, I'm telling you I'm lost. The journey of love ("ije love" once again) has killed me":
Nelly Uchendu - Mamausa Pts. 1 & 2
On the album, "Mamausa" is actually parts 1 and 4 of a four-song medley. the track listing is: Mamausa Pt. 1/Jesu Chelum/Ugbo Ndi Oma/Mamausa Pt. 2. For convenience I've combined the two parts of the song, but if you'd like to hear the whole medley, click here.
"Okwu Di Nlo" ("A Soft Voice") from Side 2 of Mamausa, preaches the virtues of moderation: "A soft voice brings down anger. That's how a person succeeds in life. A soft voice brings peace, it brings happiness. . .":
Nelly Uchendu - Okwu Di Nlo
The final song on Mamausa, "Kpokube Olisa," ("Call on the Lord") is another hymn. Nelly sings that today people can't even trust their own relatives: ". . . The world has changed. The world has gotten bad. Call on the Lord so we can survive":
Nelly Uchendu - Kpokube Olisa
I wanted to include a couple of tracks from Hosanna in this post, but I just haven't had time to do the necessary audio restoration (as you can tell, these records have all been much-loved and much-played!) Perhaps another time. And many thanks, as usual, to my wife Priscilla for her interpretations of these lyrics.
Discography of Nelly Uchendu
Update: Cheeku Bidani confirms my suspicions regarding the two issues of Love Nwantinti. At above right is the original cover (click to enlarge). It is currently offered on Ebay here.
Monday, May 26, 2008
Comb and Razor's recent post on Onyeka Onwenu has put me in mind of another exemplary Nigerian female singer. I'm referring to Nelly Uchendu, the "Golden Voice of Nigeria," who passed away on May 19, 2005. Actually, Uchendu was a bit of a musical oddity. While there has been no shortage of female "pop" singers in the Naija music scene, and women singers dominate Nigerian gospel, Nelly was one of the few female singers in the Igbo highlife genre (actually I can think of only one other, Queen Azaka).
Nelly burst upon the scene in 1977 with "Love Nwantiti," a song based on the folklore of her native Enugu, and quickly followed that up with a number of hits like "Aka Bu Eze" and "Mamausa." She had a much-praised appearance with Warrior and his Original Oriental Brothers in London in the early '80s, and recorded the soundtrack of the film adaptation of Chinua Achebe's "Things Fall Apart." Toward the end of her life she devoted herself exclusively to Christian devotional songs.
Unfortunately, I have been unable to obtain copies of "Love Nwantiti" or "Mamausa," Nelly's two biggest hits, but I am happy to own three of Nelly's LPs, as well as Late Nite Husband, by Sonny Oti & his group, on which she sings lead vocal. Here are some tunes from them. Enjoy!
"Udo Ego" from Aka Bu Eze (Homzy HCE 012, 1977) addresses the problem of whom to marry? You love your family more than anything but you have to marry outside the family. This means that your potential spouse might not share your values or your family's values. In the song a young man states that he would like to marry a girl like his sister, Udo Ego. Actually, the song expresses, in Igbo terms, the sentiments of an old American popular tune, "I want a girl just like the girl that married dear old Dad." If this sounds peculiar, keep in mind that the Igbo concept of incest is far more expansive than in most Western cultures - marriage between even distant relatives is considered an abomination.
Nelly Uchendu - Udo Ego
In the lively highlife tune "Elozekwanna Nwanne Gi," also from Aka Bu Eze, a mother sings to her son, "never forget your brother and sister" ("Nwanne Gi," literally "your mother's child"). "My child, remember that on the day you die, the person who will be called upon to bury you will be your brother or sister." For Africans, these family responsibilities are a blessing but also a curse, as successful family members are expected to support their ne'er-do-well relatives.
Nelly Uchendu - Elozekwanna Nwanne Gi
Compare "Elozekwanna Nwanne Gi" with the following song, from Celestine Ukwu's True Philosophy (Philips 6361 009, 1971):
Celestine Ukwu & his Philosophers National - Igede Pt. 1
"Late Nite Husband," from the LP of the same name (Homzy HCE 013, 1978) addresses the age-old problem of young women who marry "walk-abouts" who stay up at all hours drinking and chasing the ladies:
Sonny Oti & his Group w. Nelly Uchendu - Late Nite Husband
Detail from the cover of Late Nite Husband:
"Ezi Gbo Dim" ("My Good Husband") is from the album Ogadili Gi Nma (Afrodisia DWAPS 2168, 1982), as are the next two songs. Nelly sings, "My good husband, tell me what to do so you will love me? What can I do so that you will love me? I will dance for you, I will dance for you so you will continue to love me."
Nelly Uchendu - Ezi Gbo Dim
Anyone who has been in Igboland during festival season is familiar with the subject of the following song. The leader of a dance troupe calls out to the owner of a house to come out and give her money or a wrapper ("akwa") in exchange for their performance:
Nelly Uchendu - Akwa Alili
In "Nga Meji Eru Uwa" Uchendu sings to her parents, "see how much I have seen of the world." She then calls out to a succession of Nigerian musicians - Ebenezer Obey, Sunny Adé, Christy Essien Igbokwe, Warrior, Dan Satch and Bobby Benson - to "come and dance to my music":
Nelly Uchendu - Nga Meji Eru Uwa
The next two songs are taken from Uchendu's cassette of Christian devotional songs Sing Praises (Rogers All Stars RASLPS 132, early '90s). This sort of highlife/gospel music is omnipresent everywhere in Igboland. In fact, I would guess that it is the most popular genre of music by far. In "Cheta Tikue Jehova" ("Remember to Praise Jehovah") Nelly sings, "If you are sick, remember God. God is merciful and gracious. Only God can bless you."
Nelly Uchendu - Cheta Tikue Jehova
"Ekwensu Adago" means "Satan is Falling." Nelly sings, "Ife Jesu a sokammu-oo," "I love Jesus's way," and continues, "ife omelu mu'erika nu'wa, O solummu kam sobe ya-oo," "What he did for me in this world is very great. That is why I praise him." The chorus, "Osoluma kam sobe ya," means "I will always follow his way."
Nelly Uchendu - Ekwensu Adago
Thanks to my wife Priscilla for interpreting these lyrics.
Discography of Nelly Uchendu
Monday, January 21, 2008
In Ronnie Graham's Stern's Guide to Contemporary African Music (Zwan Publications, 1988, published in the U.S. as The Da Capo Guide to African Music), there is an intriguing reference to something called "Igbo Blues," which he defines as ". . . basically a percussion arrangement supported by vocals and lacking even guitars. . ."
What Ronnie calls "Igbo Blues" would probably be more properly labeled Igbo Traditional or Igbo Roots Music, and this is an extremely popular and variegated genre in the Nigerian music industry, encompassing myriad styles and artists. I've never actually seen a recording labeled "Igbo Blues," although the appellations "Igbo Native Blues" or "Igbo Native Music" are sometimes used. Below are two record labels featuring the former term, the first from Ogbogu Okoriji & his Anioma Brothers, a percussion and vocal ensemble from Delta State, the second by the fifty-member women's dance and vocal group group of the Nnewi Improvement Union (Lagos Branch). I've also seen "Igbo Native Blues" applied to solo pieces for ubo (Igbo thumb-piano) and voice, and also to straightforward Igbo guitar highlife, so who's to say what it really means?
As an example of an "Igbo Blues" artist, Ronnie cites the musician Morocco Maduka. Morocco's recent recordings feature the sort of stale arrangements, cheap synthesizers and ticky-tacky drum machines that currently blight the Igbo music scene. An artist with a similar, but superior, sound is Chief Akunwata Ozoemena Nsugbe (right), who places more emphasis on the traditional Igbo percussion line-up of drums and bells. Here's a track from his cassette Ifunanya (Olumo Records ORPS 1034). "Chief John Nnebeolisa" is the sort of obsequious praise song that is rife in Nigerian music. The honoree is lauded for his great success in life, his charitable works, and his tendency to give away cars as gifts. Mr. Nsugbe asks the great Chief if he could get a gift also:
Chief Akunwata Ozoemena Nsugbe & his Oliokata Singing Party - Chief John Nnebeolisa
Another popular version of Igbo traditional music is performed by amateur and semi-professional percussion and dance troupes. Around Christmastime or during village celebrations, such as the Iri Ji, or New Yam festival, these groups are ubiquitous in Ala Igbo, traveling from house to house and compound to compound to perform for money. During my first visit to Nigeria in December 1994 I made a number of videos of groups such as these, which I really should post on YouTube some day. From the cassette Chukwunna Njieme Onu (EMI Nigeria NEMI 0692), here is a tune by the Ifediora Mma Egedege Cultural Dance Group of Uga, which is a noteworthy examplar of this style.
Here the full panoply of Igbo traditional instruments is displayed to great effect. The amiri (reed flute) leads off, to be joined in succession by the ekwe (wooden slit drum), ogene (two-headed bell) and oyo (rattle). The title, "Chukwunna Njieme Onu," means "My God that I Brag About." Lead singer Ann Ezeh addresses God in a very personal way: "God, please bless us, God that we rejoice in, God give us your grace, God that is all-good, God in heaven ('Olisa din'igwe') make our way easier."
Ifediora Mma Egedege Cultural Dance Group of Uga - Chukwunna Njieme Onu
One of the outstanding Nigerian releases of the 1980s was Anti-Concord/Apama (Nigerphone NXLP 011, 1988) by Ibealaoke Chukwukeziri & his Anaedonu (right). Side 1 featured sparkling guitar highlife, while side 2 was devoted to some great Igbo cultural roots music, including this song, "Apama," or "carry me," which addresses the burning issue of Igbo women not being as tall as they used to be! You can see a video of it here.
Ibealaoke Chukwukeziri & his Anaedonu - Apama
Finally, any discussion of Igbo roots music would be incomplete without an example of women's choral music. There are literally thousands and thousands of Igbo female singing groups throughout Nigeria, and many have made recordings. One of the more popular ensembles in the '80s was the Okwuamara Women's Dance Group of Umuoforolo, Nkwerre in Imo State. "Nkwerre Imenyi Anyi Abiala" is from their LP Okwuamara '88 (SIL 001), and serves as an introduction to the group: "Nkwerre Imenyi [the group's home village], we have come, the beautiful ones have come." The chorus then replies "yes, we have come." Greetings are then given to the people of Nigeria, of Imo State, etc., etc.
Okwuamara Women's Dance Group of Umuoforolo, Nkwerre - Nkwerre Imenyi Anyi Abiala
Thanks once again to my wife, Priscilla, for interpreting the lyrics. Please let me know if you've enjoyed these tracks. I have tons of music like this, and I'd love to make it better known.
I like to give "shout-outs" to other African music sites whenever I can, and it occurred to me yesterday that I've never mentioned Matt Yanchyshin's excellent blog Ben Loxo du Taccu. This was the first serious African music blog, and it's been the inspiration for many others. If you're reading this, you've probably seen Ben Loxo already. If you haven't, though, do yourself a favor and drop by now. It's an excellent way to find out about and sample the latest sounds out of Africa. It's "Eritrea Week" at Ben Loxo right now, and Matt's got a platterful of musical treats from that country for your listening enjoyment.
I'm indebted to Matt in a number of ways. Not only did he directly inspire this blog, he personally advised me on some of the technical issues involved, and has been generous in his praise and encouragement ever since.