The "New" Igbo Thing

How to explain the dire state of the Nigerian music scene? Judging by what's being spun at parties in Milwaukee these days, it's beset by a plague of cheapo synthesizers and ticky-tacky drum machines, and the less said about the derivative sludge known as "Naija Hip-Hop" the better!

The trend toward artifice and away from artistry is well exemplified by two Igbo musicians, Sunny Bobo and Eke Chima, whose recordings - copied, pirated and distributed from hand to hand - have been ever-present in the Igbo diaspora the last few years. Both singers are said to be masters of the Owerri dialect, which may well be, but judging by their recordings, Old Skool, Obareze, and the many sequels, one can't help but feel sadness at the decline of that city's music scene since the glory days of the Oriental Brothers and their colleagues. I suppose economics are behind the sparse production values of these releases, but it's a regrettable situation still.

Sunny Bobo burst upon the scene a few years ago with Old Skool, and the sequels have followed fast and furious. The first volume of Old Skool reworks a number of classic songs from the Golden Age of Nigerian highlife. In typical Igbo fashion, Bobo sings that a meeting of the minds works best with one's own siblings. He describes a problem he is having with one of his kindred. He goes to the market, or public square ("nkworji") to settle the problem.

In "Willie Willie," a rework of the Peacocks' "Mary Meriamam," he sings about a beautiful girl named Mary, with whom he is quite infatuated. The main theme of the song is to not lose your head: "Elewe ukwu egbuo ewu - look at nyash kill a goat." In other words, don't be so crazy looking at your love's behind that you will do anything for her. Sunny recounts that he and Mary were wed, but that things haven't really worked out. He asks his brothers, "What am I going to do? Love has wounded me!"

A remake of Rex Lawson's classic "Love Adure" keeps things moving. Bobo sings, "Owerri land, please forgive my sins, because love has destroyed me. I am mesmerized by Adure's beauty. O tukwusa m'ukwu odika pillow. O tukwasa m'ishi odika pillow. When Adure places her leg on me it is like a pillow. When Adure places her head on me it is like a pillow." He then calls to an old girlfriend whom he has rejected for Adure, "Rosanna, please forgive me."

"Kinkana," another old song by the Peacocks, refers to native gin, which unlike palm wine, doesn't go bad: "Kinkana no dey sour." Here the singer is proclaiming that, unlike some flashier fellows with their money and fancy clothes, he is for real. There is a reference to Osadebe's classic song "Baby Kwanangida": "Kwanangida no go marry."

"Echendu" descibes a man who goes on a journey and doesn't come back: "Please come home. My heart is broken by your loss." "Bottom Belle," the final song in the Old Skool medley, is a classic tune from the early days of Nigerian independence.

Sunny Bobo - Nkworji-Willie Willie-Love Adure-Kinkana-Echendu-Bottom Belle

Eke Chima's offering here is similarly "Owerri-centric." As this is from a copied CD-R I'm not sure of the exact title of the medley or which CD it is taken from, only that it is from one of his numerous Obareze recordings. Chima sings that people say they don't like Owerri, and in rebuttal offers the names of many prominent Owerri families and individuals: "Ole nde onwe Owerri? Who are Owerri people?," naming among others the Amanzes, the Njokus, Chief Onukaogu and Headmaster Boniface Oha.

He then sings that someday everybody will account for their behavior in life: "Eshi ahu omenjo ga ahu njo ya, omenma ga ahu nma ya. The sinner will see his sins and the good person will see the good he has done. Ole onye ozuru oke? Who on this Earth will say that everything is complete for him?" He then calls out to a friend, "Ahu shiele m'anya - I have seen many troubles." Chima admonishes those who have taken a child's thing to raise their hand and give it back. In other words, don't mistreat another person, especially the helpless. He states once again that all will account some day for how they lived on Earth.

Family relations are a prominent theme in Igbo music. Chima asks if a person doesn't have kin by the same mother (this is presumably referring to relations within a polygamous household) will he kill himself? Of course not. He states that since he has no other siblings by his mother he works very hard and hopes that God will be there for him: "Ebe mu onwehu onye inye aka, agam ime uwam nkpo ole."

Eke Chima & his New Generation Band - Owerri



In the interests of fairness I should present evidence that things may not be so dire for Nigerian music after all: two artists, both scions of musical families, who would seem to refute my thesis that Igbo highlife is on its deathbed, if not already departed. Emperor Teddy Obinna is billed as "Junior Warrior," but he's actually the half-brother of Owerri's favorite son, the late Christogonous Ezebuiro Obinna, better known as Warrior. Ogidi's Amobi Richard Onyenze is the nephew of highlife legend Stehen Osita Osadebe, who passed away in 2007.

Obinna not only has taken up his brother's legacy, but in the CD Uwa Shekiga e Shekiga (C. Meks Music CMS 114, 2004) takes it in bold new directions, incorporating elements of Congo music to great effect. The title song ("The World is Very Shaky") takes up current events, advising that because of the world's instability, everybody should do their best. He sings that he is doing all he can for his family, but that if they are going to be irresponsible and not do for themselves in return, it's not his problem ("Onye zuzuo n'elu uwu ya aka ya aka - if you are stupid in this world it is your own fault.") He says that even in America, people are afraid because of Osama Bin Laden ("Osama bin Bomb Bomb") and mentions the war in "Iraqi land." Even old women have confirmed that the world is not as it used to be. Obinna calls on Nigeria's leaders to help make things better:

Emeror Teddy Obinna - Uwa Shekiga e Shekiga

The Emperor seems to spend a lot of time outside of Nigeria performing for the Igbo diaspora. He certainly has a feeling for their problems and concerns. In "Onye Nchem" he decries lazy Nigerians who take advantage of their hard-working relatives abroad. The song itself is about God's concern for the world. Obinna sings that without God's protection all of the guns and all of the armies in the world are useless. All of the people who bear grudges need God's blessing because he will judge them: "Let the Lord not protect an evil plotter." The chorus is "Make sure you are doing right."

Emperor Teddy Obinna - Onye Nchem



Judging by his eighth release Livin' Dey Highlife, available from Akwaaba Music, Amobi Onyenze is capably carrying on the Osadebe legacy, but one hopes that in the future he will strike out into fresh territory rather than continue to till the old man's field. In "Akachukwu di Ya" ("God's Hand"), Oyenze sings, "In everything we do in life we must seek God's hand to make it success. With God's hand our success is guaranteed. Whoever God's hand beholds shall never fall nor fail. God's hand is in my life, in my family. That's why I'm a success."

Onyenze - Akachukwu di Ya



Thanks once again to my wife Priscilla Nwakaego for interpreting these lyrics. The translation of "Akachukwu di Ya" was provided by Akwaaba Music.

Igbo Garage Bands

Sad as it is for me to report, I think the Igbo highlife sound, at least as we have known it, is dead and buried, the great stylists - Osadebe, Warrior and Oliver de Coque - having passed on in the last few years. In their places have emerged a new crew - Eke Chima, Sunny Bobo and the like - who have numerous fans but offer a synthesizer-and-drum-machine-based style that's just a pale imitation of the classic sound, at least in my humble opinion.

In a future post I'll be discussing some of those new guys, but here I want to talk about some of the lesser-known musicians of the '70s and '80s, just a few of the journeymen who made the Igbo highlife scene of the time so vital and productive. In a way they're equivalent to the "garage bands" of the 1960s in the US, who toiled away in obscurity in hopes of someday scoring a regional hit. In the Nigerian case, some of these musicians put out numerous recordings and were quite popular. They just weren't in the top tier of the Igbo music scene.

One such musician was Owerri-based Douglas Olariche, whose LP Me Soro Ibe (Fontana FTLP 109, 1980) makes inspired use of native xylophone and the Igbo ogene bell. The title track, whose title means "Let the World Let Me Follow My Mates," is basically a series of Igbo proverbs such as "a gift knows who wrapped it" strung together, while "Elele" sings the praises of various individuals such as a man who makes his living in the transport business and the Owerri highlife band the Imo Brothers:

Douglas Olariche & his International Guitar Band - Me Soro Ibe

Douglas Olariche & his International Guitar Band - Elele



Also of Owerri, the guitarist Joakin followed a similar career trajectory, scoring a number of regional hits in the mid '80s. In "Nwagbeye Ebezina," from the album of the same name (Sann SR 13, 1984), he sings "poor man's son, do not cry." The chorus is "nobody comes into this world with wealth." "Chikereuwu Buonye Ogbubbonjo," from the same LP, means "God the Creator is the Preventer of All Evils." Joakin calls on God to prevent evil. He also asks God to reveal what will happen to him:

Joakin & his Royal Guitar Band - Nwagbeye Ebezina

Joakin & his Royal Guitar Band - Chikereuwa Buonye Ogbugbonjo



Ibealaoke Chukwukeziri's Anti Concord/Apama (Nigerphone NXLP 011, 1988) was one of the outstanding highlife releases of the '80s, combining traditional Igbo percussion and agile guitar work. The song "Anti Concord" is actually about Aunty Concord, the singer's betrothed, whom he questions about her sincerity. He asks, "you can see that I have many new cars and a great mansion. Is it me you love, or my wealth?" He goes on to sing that some women are like a beautiful present that a man takes home, only to find snakes and scorpions inside:

Ibealaoke Chukwukeziri & his "Anaedonu" - Anti Concord

"Nara Ndomadu Chukwu" ("Accept God's Advice") tells the story of a young man named Augustine, a trader who has the opportunity to go abroad to buy goods to sell. He asks a prophetess at his local church for advice, who tells him not to go, then he asks a prophet, who tells him the same thing. He then goes to a traditional healer, who tells him to go abroad, but asks 1000 Naira for his advice. Augustine goes abroad and buys his goods, but when he comes home the Customs service check his parcels and find only newspapers inside. Augustine has lost all of his money. Now he sits in the village shooting small animals with a slingshot:

Ibealaoke Chukwukeziri & his "Anaedonu" - Nara Ndomadu Chukwu



Finally we listen to Elvis Nzebude of Amagu, Anambra State. In "Ije Awele" ("Good Journey"), from the album of the same name (Rogers All Stars RASLPS 124, 1992), Elvis sings, "Ganiru, ganiru ("go forward"), we go where there is love, we go where there is peace, we go where there is respect. Because where there is respect there is peace. Let no one wish others death. Let everyone live."

Elvis Nzebude & his Metalic Sound - Ije Awele



Many thanks to my wife Priscilla for her interpretation of these lyrics.

Mental Health Break

Courtesy of Lucas Silva:

The Man Behind the Music

One of the fringe benefits of doing this blog is that I occasionally hear from the musicians I write about, and their relatives. Thursday I got an email from Anthony Obianwu, the son of "Uncle" Mike Obianwu, whom I wrote about briefly in this post, reporting his death on July 20th. He was 93 years old.

Uncle Mike was not a well-known musician. He is remembered mainly for his stellar piano work on Nelly Uchendu's famous LP Love Nwantinti (Homzy HCE 005, 1976), and the great irony of this achievement is that the album was originally credited to Obianwu himself, with Uchendu playing only a supporting role. After Uchendu's acclaimed debut at FESTAC '77 in Lagos, the album was reissued with a new cover credited to "Nelly Uchendu and Mike Obianwu." Anthony tells me that his father released one other album in his own name, Crashes in Love, and I suspect he was present on other recordings as well. The other members of his band were Bassey Edim on bass and Willie Udor on drums, with Nelly Uchendu supplying vocals until her death in 2005.

Let's take a moment to remember Uncle Mike and the many other unsung heroes of African music. Here is a touching tribute in his honor by his family:

Ezennia Michael Davidson Obianwu, God saw you getting tired as your youthfulness turned gray. The days flew by as you celebrated your well lived 93years of aging memories. You were our ROCK and you will forever live in us, a befitting metaphor is your name OBIANWU. Your name will never die for we your children will carry on your legacy with every breath we draw. Your heart was so beautiful and pure, so meek and gentle, so loving and very forgiving. We became greedy, wishing you could hang around for another 93. We can now see that your every awakening and perseverance, is your way of hanging around to protect your loving family. The Almighty God knew this too, so HE wrapped his arms around you, and whispered, "COME TO ME."

You went through a journey very few can only dream about, you married your beloved wife and our mother Victoria Obianwu on December 26, 1949, and you were both rewarded with beautiful children: Chinwe, (ADA) Obianwu, Okechukwu (Diokpa) Obianwu, Ebelechukwu Obianwu, Nnamdi Obianwu, Anthony Obianwu and the most supporting group of in-laws: Amaechi Mbanefo, Cecilia Obianwu and Chilo Obianwu. Our Daddy Ezennia was also blessed with many grand children: Uchenna Obianwu, Jane Mbanefo, Patrick Mbanefo, George Mbanefo, Ifeoma Mbanefo, Adaobi Obianwu, Osita Obianwu, Nnenna Obianwu, Ebelechukwu Obianwu Jr., Odiakosa Obianwu, and Adaeze Obianwu. Ezennia is also survived by a long chain of brothers and sisters, nieces and nephews, cousins and a sea of friends and well wishers. It goes without saying that you have led a fulfilled life.

After serving proudly, fighting as a soldier in Burma during the 2nd World War with sustained injuries to show for it, you worked at the Federal Ministry of Information in Lagos and retired proudly as a senior civil service worker. Despite all this, your love for music kept shinning through. You played music at famous hotels in Lagos like Gondola and the Federal Palace, including the Presidential and Hotel Metropole in Enugu, Nigeria. You became very famous in music and touched many hearts. Your genius earned you the name "Uncle Mike Obianwu" and you recorded two albums including the award winning folk song "Love Nwantinti". You became one of the respected Agbalanze of Onitsha and was crowned with the title; EZENNIA and for this we salute you.

Daddy, you were truly an accomplished man of God. He only takes the best. This is why He has called you home to give you rest. God's garden must be beautiful, and there must be a beautiful white Grand Piano, waiting for you in heaven, to strike beautiful melodies for God's listening pleasure and for the Angels to dance to. It was no surprise that on the day of your passing, you were jovial as usual and you told us how much you loved us. You then said "Tell 'V' I love her" (meaning Mom) and asked to let you rest. Your Doctor asked if you were ready to be discharged, your answer was "YES, I AM READY TO GO HOME" and home you went, drifting gently like the wind. When we saw you sleeping so peaceful and free from pain, we could not wish you back because the Lord needs you more now than we do.

"For YOUR gift O'LORD, we will rejoice and be glad."

Rest in perfect peace, Good Bye, All Our Love is with you.

On Behalf of All of Your Children,
Chinwe, (ADA) Obianwu, Okechukwu (Diokpa) Obianwu, Ebelechukwu Mbanefo, Nnamdi Obianwu & Anthony Obianwu

Wake will be kept for Mike Obianwu August 15th at 18351 Queen Anne Road, Upper Marlboro, Maryland, 20774, and his final resting place will be Onitsha, Anambra State, Nigeria on August 29. In Uncle Mike's memory let's listen to "Love Nwantinti":

Nelly Uchendu & Mike Obianwu - Love Nwantinti/Ada Eze/Onye Nwulu Ozuluike

Once More on Rex Lawson & Biafra

Once again our friend Rainer has come through with an exceedingly rare artifact from the golden age of Nigerian highlife music, in this case a 10" pressing of Love "M" Adure Special, from which I posted some tracks June 21. This was apparently the first pressing, released in 1972. Or maybe it wasn't the first pressing! Rainer writes, ". . . the label says AGR002 etc. But the matrix number says (P)1970 and gives a Philips label number 6386004 as a reference (the Dan Satch is from 1969/70 and has 6386008) Why did they write 1972 on the label? Was this supposed to be released on Philips first back in 1970 but saw the light of day in 72 on Akpola!? Or am I just thinking too much?"

Apart from having a different cover and slightly different reference number (AGR 002 rather than AGB 002), this earlier iteration of Love "M" Adure Special, also on Akpola Records of Benin City, differs in several other respects from my copy. For one thing, it has 10 tracks instead of 12. Also, it includes the song "Gowon's Special," which was omitted from the later record, although it was listed on the sleeve. And for what it's worth, it's a much better pressing.

"Gowon's Special" is very interesting in that it marks Lawson's evolution from being a full-throated supporter of Biafran independence in 1968 to singing the praises of Nigerian head of state Yakubu Gowon for "keeping Nigeria one" in 1972. Listen to it here:

Cardinal Rex Lawson & his Rivers Men - Gowon's Special

I won't presume to understand Lawson's motivations for making "Gowon's Special" as well as the earlier "God Bless Colonel Ojukwu."



To help clarify things, here is the recording information for the two pressings of Love "M" Adure Special:

Cardinal Rex Lawson & his Rivers Men
Love "M" Adure Special
(10" LP; Akpola AGR 002, 1972)
A1. Love "M" Adure Special
A2. Gowon's Special
A3. Saturday Sop Di
A4. Yellow Sisi
A5. Nkpa Ke Da Owo
B1. Tom Kiri Site
B2. Wasenigbo Tua
B3. Akwa Abasi
B4. Nume Inye (Nume Alabo)
B5. Peri Special Mbanga II

Cardinal Rex Lawson & his Rivers Men
Love "M" Adure Special
(12"LP; Akpola AGB 002, 197?)
A1. Jolly Papa Special
A2. Love "M" Adure Special
A3. Saturday Sop Di
A4. Yellow Sisi
A5. Abasi Ye Enye
A6. Nkpake Da Owo
B1. Tom Kiri Site
B2. Wasenigbo Tua
B3. Ese Ayang Iso
B4. Akwa Abasi
B5. Nume Inye
B6. Peri Special

One nice thing about the original 10" LP is that it includes a listing of the musicians and summaries of the lyrics. You can download the whole album as a zipped file here.



In the comments there's been a side discussion on the question of whether records were actually pressed in Biafra during the war. I thought it was possible, even though all of the major pressing facilities were in the North and West before the war (Nigerphone may have had a plant in Onitsha). After thinking it over, and consulting the map below (click to enlarge) from John de St. Jorre's The Nigerian Civil War (Hodder & Stoughten, 1972), this seems most unlikely.

As the map shows, by October of 1968 the territory under Biafran government control had been reduced to about one sixth of what it was at Independence, and didn't include any of the major cities (Onitsha fell in March of 1968). Although the margins of the Biafran enclave changed slightly over the course of the conflict, this is where things stood until the last months before the war ended in January 1970. Therefore, any "Biafran records" would have to have been pressed outside of the country and smuggled in.

Hailing Biafra

Note: This post was updated on October 4, 2009.

My post "Divided Loyalties" inspired an anonymous reader to make available an intriguing souvenir of the Biafran independence struggle. First Independence Anniversary Special, a 45, was issued in 1968 by the Biafra Association in the Americas, Inc. under the reference number XB-439/XB-440. The A side is "A Nation is Born," a previously-unknown-to-me song by highlife master Celestine Ukwu, while the flip side is the song "God Bless Colonel Ojukwu" by Rex Lawson, which I featured in that earlier post under the title "Odumegwu Ojukwu (Hail Biafra)."

Anonymous poses an interesting question: While First Independence Anniversary Special was obviously pressed in the United States, were records pressed in Biafra during the war? I do know that music by Ukwu and other musicians was recorded and broadcast on Radio Biafra during the conflict, but I'm not aware of any record-pressing facilities in Biafra at the time. Of course, there is always the possibility that records were pressed abroad and smuggled into the Biafran enclave, a fraught task. Could someone shed some light on this matter for us?

Courtesy of Anonymous, here is Celestine Ukwu:

Celestine Ukwu - A Nation is Born

For some time I've been trying to get hold of another record released in the US during the war, Igba na Egwu Ndi Biafra Ji na Anu Agha: Drums and Chants of Fighting Biafra (Afro Request SRLP 5030) by the mysterious "Biafran Freedom Fighters." If anyone out there has a copy, I'm sure we'd all love to hear it.

I have an LP which was apparently put out by the same people who issued First Independence Anniversary Special. This is Biafra (Biafra Students Association in the Americas XB-149/XB-150) features an instrumental, "Hail Biafra" (the Biafran national anthem?) and a speech by Odumegwu Ojukwu on Side 1, and seven musical selections on Side 2. Unfortunately, while the song titles are given, the artists aren't credited.

I'm posting the contents of This is Biafra. "Hail Biafra" is not especially notable and the Ojukwu speech is more of a historical document, but the other tracks should be of interest to Likembe reader/listeners. I have identified "Onwu Zuri Uwa" and "So Ala Temen" as by Rex Lawson. "A Tit for Tat" is by Area Scatter, and "Onye Nwe Uwa" is by the Nkwa Wu Ite Dance Group of Afikpo (thanks to Anonymous & Vitus Jon Laurence for identifying those two). Perhaps someone could identify the other musicians:

Hail Biafra

The Struggle for Survival: H.E. Lt. Colonel Odumegwu Ojukwu, Governor of Biafra (November 24, 1967)

Cardinal Rex Lawson - Onwu Zuru Uwa (There's Death Everywhere)

Unknown Artists - Nkponam Isuhoke Owo (Misfortune Never Discriminates)

Nkwa Wu Ite Dance Group of Afikpo - Onye Nwe Uwa (Who Owns the World?)

Cardinal Rex Lawson - So Ala Temen (Nature Bestows Riches)

Area Scatter - A Tit for Tat

Unknown Artists - Akpasak Ibok, Idiok Udono (Vice is a Terrible Disease)

Unknown Artists - Thou Shalt Not Kill

I've written about the Biafran situation in previous posts, and I would recommend John de St. Jorre's The Nigerian Civil War (Hodder & Stoughton, 1972), long out of print, as an even-handed and detailed account of the conflict. This article from Wikipedia is also useful. I would say at the risk of sparking a controversy that I think the Biafran cause was a noble one, and had it succeeded, would have changed the course of African history in a positive direction. But I'm afraid Biafra's historical moment has come and gone; whatever the future of Africa has in store, an independent Biafran state will probably not be part of it.

Download This is Biafra as a zipped file here.

Divided Loyalties

The recent dénouement of the 25-year Tamil insurgency in Sri Lanka was reminiscent in many ways of the end of the Biafran war in Nigeria in January of 1970: both of them were hard-fought popular rebellions that collapsed very suddenly. In both cases the human and economic cost was horrendous.

In its time Biafra was a cause that engaged people the world over in support of its beleaguered people. The proximate reason for the start of the war was a series of pogroms across Northern Nigeria in 1966 directed at natives of the Eastern region of the country, mainly Igbos. In response, Eastern Nigeria, under the leadership of Chukwuemeka Odumegwu Ojukwu, seceded as the Republic of Biafra on May 30, 1967.

Sometime during the course of the war, Nigerian highlife star Cardinal Rex Jim Lawson recorded his song "Odumegwu Ojukwu," commonly known as "Hail Biafra." I'm told that this was released on Onitsha's Nigerphone label, although I have no more information about it. Given its controversial nature, it's not surprising that "Hail Biafra" was more or less banned in the post-war years, and was not on any of Lawson's five "official" Nigerian LPs. The song came to light again in the late 1990s when it was released as part of a compilation entitled Rex Lawson Uncensored: Hail Biafra (Mossiac MMCD 1036).

"Odumegwu Ojukwu" is apparently in Ijaw, so I can't give an exact translation of the lyrics, but in spoken English comments toward the end, Lawson clearly indicates his support for Biafra's Head of State. These sentiments are said to have earned his detention by Federal troops, to whom he is said to have told that he recorded the song "to uplift the rebels." Here's the song:

Rex Lawson - Odumegwu Ojukwu (Hail Biafra)

More interestingly, sometime later Lawson recorded a song in tribute to Isaac Jasper Adaka Boro, who not only had led an earlier separatist rebellion in the Niger Delta (the so-called "Twelve-Day Revolution") but died fighting on the Federal side against the Biafran separatists. Boro was an ardent defender of the interests of his Ijaw people, and by some accounts his sentiments toward the Igbo (who predominated in Biafra) were chauvinistic bordering on racist. Such are the dynamics of ethnic politics in southeastern Nigeria! "Major Boro's Sound" was included on the album Rex Lawson's Victories Vol. 2 (Akpola AGB 003) and is also featured on Rex Lawson Uncensored: Hail Biafra:

Rex Lawson - Major Boro's Sound

If there was one thing Rex Lawson wasn't, it was a narrow-minded tribalist. A true cosmopolitan, he had an Ijaw father and and Igbo mother, and his Majors Band (later The Rivers Men) included musicians from various ethnicities. He sang in all of the languages of southeastern Nigeria. Some years ago a fellow named Ofon M. Samson emailed me with English-language summaries of some of the songs on Lawson's LP Love "M" Adure Special (Akpola AGB 002, below). I believe the original songs were all in Efik. In the first of these, "Saturday Sop Di," Lawson sings that he wants Saturday to hurry up and arrive:

Cardinal Rex Lawson & his Rivers Men - Saturday Sop Di

"Abasi Ye Enye" was supposedly written after Lawson had lost a child. He sings, "Whoever killed my child, God will see him or her":

Cardinal Rex Lawson & his Rivers Men - Abasi Ye Enye

"Tom Kiri Site" means "The World is Bad":

Cardinal Rex Lawson & his Rivers Men - Tom Kiri Site

"Ese Ayang Iso" is about a leper, about whom Lawson sings, "ese Ayang iso, kuse ikpat," meaning "look at Ayang's face not her feet because she has a disease":

Cardinal Rex Lawson & his Rivers Men - Ese Ayang Iso

"Akwa Abasi" means "Almighty God." Lawson quotes John 3:16, ". . .For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life."

Cardinal Rex Lawson & his Rivers Men - Akwa Abasi

In "Nkpa Ke Da Owo," Lawson sings about death taking someone away. During the break one of the band members asks, "Death why have you taken our master? Who is going to lead us?." A prescient question, given that Lawson would die in 1971:

Cardinal Rex Lawson & his Rivers Men - Nkpa Ke Da Owo

Navigating the Boundary Between Highlife and Jùjú

There's been a lot of good jùjú on the Internets lately - from Comb & Razor here and here, Worldservice here and here, and at Snap, Crackle & Pop here - so I figured why shouldn't I get into the act? Besides, it's been a while since I posted some good old Yoruba Soul Music.

I can tell you very little about Ade Wesco and his Destiny Dandies. Wesco rates a brief entry in Ronnie Graham's The World of African Music (Pluto Press/Research Associates, 1992) where his sound is described as ". . . highlife enriched with traditional percussion and distinctly Yoruba vocals." The label of his LP Aye Wa Adun (Ibukun Orisun Iye MOLPS 35, 1976) describes the contents as "jùjú," and judging by that album at least (the only one by him I've heard, although he released a number of others) his music is a true synthesis of the two styles, much like that of Orlando Owoh.

Be that as it may, you can decide for yourself. Here's the album in full. It's fine, fine stuff:

Ade Wesco & his Destiny Dandies - Aye Wa Adun/Adun ni Gbehin Ewuro/Ibukun Orisun Iye/Tiwa ni Tiwa

Ade Wesco & his Destiny Dandies - Ogo ni Fun Baba Loke/Irawo Wa Ntan Loke/A Dupe Baba Wa/Bayi Loda/Amariran Wo/Oniyeye

The Anioma Sound Pt. 2

As I wrote in "The Anioma Sound Pt. 1," the Anioma region comprises the Igbo-speaking areas of Delta State in Nigeria. The name is a actually an acronym derived from the regions of Aniocha, Ndokwa, Ika and Oshimili, and was coined by the late Dennis Chukude Osadebay, one of the founders of the National Council of Nigeria and the Cameroons, and former premier of the old Mid-Western Region of Nigeria.

Continuing our look at the music of this area, we start off with a couple of old-timers of the Anioma scene, ending up with some newer artists.

Ndokwa native Charles Iwuegbe may be familiar to those who have heard the wonderful compilation Azagas & Archibogs: The Sixties Sound of Lagos Highlife (Original Music OMCD 014, 1991), now sadly out of print. As that title implies, he was a stalwart of the pre-Biafra highlife scene in Lagos, when musicians of all ethnicities kept the night alive with their wildly inventive sounds. I give my thanks to Anioma music fanatic "Ubulujaja," who passes on this classic tune, "Ejelunor," from Iwuegbe's LP of the same name (Decca West Africa DWAPS 04), as well as Eddy Okonta's "Anioma" in "The Anioma Sound Pt. 1."

Charle Iwuegbe & his Hino Sound - Ejelunor

Perhaps you remember St. Augustine from my posting of Rusted Highlife Vol. 1. Hailing from Asaba, his career took off in 1971 with the release of "Ashawo No Be Work." From a bit later in his career, namely the early '80s, here's a track from Anioma Special (Offune OFLPS 1):

St. Augustine - Evidence Special

As I promised in this post, I've got another tune for you from Aboh's incomparable Ali Chukwuma. Here's the title track from 1982's Ife Oma Dimma (Akpolla AGB 50):

Ali Chukwuma & his Peace-Makers International Band of Nigeria - Ife Oma Dimma

Guitarist Bob Fred shows up in all manner of recordings by Anioma artists, notably those of Rogana Ottah, but he's made a number of LPs on his own with his Ukwuani Brothers Band. Here's a cut from the album Egwu Amala Special (Ojikutu OJILP 032, 1982):

Bob Fred & Ukwuani Brothers Band - Ochinti



About the Mmadu Osa International Band, led by Ikechukwu Izuegbu, I know absolutely nothing, but they put out a number of LPs back in the '80s. "Ele Onye Keni" is taken from their 1983 outing Aboh Youth Progressive Union (Izuson IZULP 006)":

Mmadu Osa International Band - Ele Onye Keni

I've saved the best for last! I've heard a rumor, which I've been unable to confirm, that Rogana Ottah (picture at the top of this post) passed away a couple of years ago. What a shame that would be, as he's been the primo exemplar of the Anioma music scene. As I wrote in the introduction to my discography of him, ". . . Guitarist Isaac Rogana Ottah, 'The Oshio Super King,' a prolific artist from Akoku, Ndokwa LGA, Delta State, is one of the better-known Anioma musicians. His musical career began in the early 1970s when he played in the bands of Chief Stephen Osita Osadebe and Rex Lawson. In 1973 he joined fellow Ndokwa native Charles Iwegbue and His Hino Sound Band. Striking out on his own after Iwegbue's tragic death in 1976, Ottah scored a major hit with his first LP, Ukwani Special, in 1977. In quick succession a series of outstanding recordings, notably the 'Oshio Super series, propelled Ottah to the vanguard of the Anioma recording scene. Although his career has slowed since the 1980s, he still makes a prosperous livelihood as a touring musician and continues to make recordings. "

"Onyeluni Isu Ogaga," from the 1981 LP Oshio Super Two "Onyeloni" (Odec ODEC 003) is an absolute scorcher that showcases Ottah's brilliant guitar work to great effect.

Rogana Ottah & his Black Heroes - Onyeluni Isu Ogaga



I hope to provide translations of the lyrics of these songs in the future.

The Anioma Sound Pt. 1

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.

Gospel Highlife from "New Calabar"

As you may have noticed, I've been writing quite a bit lately about the music of Nigeria's "Eastern Minorities." By this I mean the non-Igbo ethnic groups that comprised about 40% of the population of the old Eastern Region of Nigeria that existed from 1954 until 1967. In 1967 the East attempted to separate and form the independent Republic of Biafra. For the most part the minorities - the Ijaws, Ogonis, Efiks, Ibibios and so forth - supported the Federal Government in that conflict, and since they occupied the coastal areas this was a decisive factor in the defeat of the Biafran cause in 1970.

One of the biggest names of classic Nigerian highlife, Erekosima Rex Lawson, was the son of an Igbo mother and an Ijaw father from Buguma, in the "New Calabar" region of present-day Rivers State, and thus is claimed as a native son by both groups. New Calabar is said to have been settled by Efiks from Calabar in present-day Cross River State, but its language, Kalabari, is in fact a dialect of Ijaw. Lawson sang in this language and Igbo, as well as other tongues of Nigeria, making him beloved across the country.

Buguma produced another highlife musician, Emperor Erasmus Jenewari. A retiring and urbane man, Jenewari's career was somewhat overshadowed by that of the great Lawson. In the years before the Biafra war he was based in Onitsha, where he recorded numerous hits like "Abari Nyanawa," "Oteke," "Opa Iweriso," and the evergreen "Odenigbo."

Following the war Jenewari seems to have forsaken secular music altogether, and devoted himself strictly to Christian devotional music with his group the Gospel Bells (shown at the top of this post; Jenewari is in the middle of the bottom row). Here are tunes from two of his gospel albums, Tamuno Belema (Philips 6361 168, 1976) and Joy Hallelujah (Polydor POLP 081, 1982). Listening to these lovely songs takes me back to eastern Nigeria, where the sound of gospel music is omnipresent.

"Tamuno Ne-Giye Ofori" and "Ichoro Onu" from Tamuno Belema are reminiscent in so many ways of Celestine Ukwu's brilliant album Ejim Nk'onye (Philips 6361 111, 1975). It's hard to say for sure, as there are no credits on either LP, but I suspect they share a set of backup musicians. The lyrics of the first song are simplicity itself: "There's nothing greater than God," repeated in the major languages of Nigeria. I detect Ijaw, Igbo, Yoruba and Hausa in the mix and there are probably several others as well:

Erasmus Jenewari & his Gospel Bells - Tamuno Ne-Giye Ofori

Erasmus Jenewari & his Gospel Bells - Ichoro Onu

"O Tamuno Boma/Ona Som" and "Joy Hallelujah" are from Joy Hallelujah. "Joy Hallelujah" was the most important hit of the gospel phase of Jenewari's career:

Erasmus Jenewari & his Gospel Bells - O Tamuno Boma/Ona Som

Erasmus Jenewari & his Gospel Bells - Joy Hallelujah

I understand that Erasmus Jenewari passed on a number of years ago without much fanfare even in Rivers State, a sad commentary.

Many thanks to Eji I. Nwuke, who provided me with much of the information used in this post.

Awijiri: Ijaw Music from the Niger River Delta

The Ijaw people, who number close to ten million people, are the fourth largest nationality in Nigeria. They are a majority in Bayelsa State and constitute large minorities in Rivers and Delta States.

Ijaws have a long history of resistance against various central governments. Under British colonial rule this took the form of agitation for a separate Ijaw-majority "Rivers State," and this advocacy continued following independence in 196o. In 1966 Isaac Jasper Adaka Boro led an armed rebellion against the governments of Nigeria and the Eastern Region, declaring a Niger Delta Republic on February 23 of that year. When it was suppressed after twelve days, Boro was jailed, only to be pardoned in May 1967 on the outbreak of the Biafran war of independence. Boro fought on the side of the Federal government in that conflict and died a year later in battle near Okrika.

The creation of Rivers State in 1967, separating it from the old Eastern Region, delivered a death-blow to the nascent Biafran Republic, rallying the Ijaws and other nationalities of the Delta to the side of the Federal government. Bayelsa was carved out of Rivers State in 1996. In recent years Ijaw youths have taken up arms against the government to demand a bigger share of the oil revenue which comes from facilities in the Niger Delta.

Looking at the map below, the Ijaw inhabit an area roughly south of a line leading from Warri in Delta State, through Patani and Port Harcourt, ending around Opobo:

The Ijaw have their own indigenous form of highlife music, called awigiri. It is almost completely unknown outside of Nigeria, but has produced many popular musicians and recordings over the years. In a recent post I featured a song by Ijaw musician Peanock Timibi, and a further exploration of this music seemed like a good idea.

Anthony Cockson, from Tarakiri, Bayelsa State, is a popular musician in the Delta, judging by the number of recordings he has released, but I know nothing else about him. Here's a tune from his LP Edogbo Special (Cockson Records CR 01, 1984). "Late Brother Iddo" is compelling not only for the oddly poetic lyrics, the saga of the business tycoon Mr. Iddo, murdered in his sleep, ". . .slaughtered with an axe like a cattle in an abattoir. . . like a tale told by an idiot. . .war war, blood blood, rent the air. . . " but for the hypnotic bassline, which creates an otherworldly atmosphere:

Anthony Cockson & his Oyadonghan Dance Band of Tarakiri - Late Brother Iddo



A.S. Eseduwo, of Angalabri, Bayelsa State, likewise has released a number of records, but is also difficult to find information about. The lovely highlife "Aki-Kiri Mele-Mele," from 1984's Late Ebizimor of Okumbri (Croseide CKLP 001), showcases nimble guitar work and keyboard and the vocal contributions of two young boys, apparently Mr. Eseduwo's younger brothers:

A.S. Eseduwo & his Top Stars Dance Band of Angalabri - Aki-Kiri Mele-Mele



King Robert Ebizimor, from Alabiri in Bayelsa State, is probably the best-known Ijaw musician living today. He started out in 1973 with the Professional Seagulls Dance Band in Port Harcourt, the former backup group of Rex Lawson led by David Bull, and has recorded over 20 albums. "Ebi-Ere Ke Bede Egbe" is taken from his 1990 LP Arekedoumene Ogbo of Endoro (Iwa-Lewa IWA 018):

King Robert Ebizimor - Ebi-Ere Ke Bede Egbe



Barrister S. Smooth of Enekorogha, Delta State has a number of videos on the internet, including this one. "Seikeme Tabbe Bofa Ekpe" is taken from the album Young Choppers Union of Warri (Felix FERLP 030, 1991), apparently a tribute to an all-women's charitable society. Don't you just love that title?

Barrister S. Smooth & his Young Heroes Dance Band of Enekorogha - Seikeme Tagbe Bofa Ekpe



Next up, a couple of extended tracks that are not really awigiri per se, but could be described at "Ijaw Native Blues." First, Birifou & his Ama-Ebimo Group of Gbekebor, Delta State. This is from their LP Mr. Dolokwei R. Kenekodo (Coconut COLP 240, 1979):

Birifou & his Ama-Ebimo Group of Gbekebor - Mr. Dolokowei R. Kenekodo/Alotabobor Oru



Chief Bukka & his Cultural Group of Okrika bring things to a close with this wild set of explosive percussion and haunting vocals. Okrika, in Rivers State, is a historically significant Niger Delta town. In the 17th Century it was the capital of the Kingdom of Okrika and was a center of the slave trade and later of the palm oil trade. Presently it is important in the petroleum industry. This is side 1 of the LP Owolo Wolo (Willisco WMSLP 1024, 1980):

Chief Bukka & his Cultural Group of Okrika - Owolo Wolo/Tubo Pumbo Ba/Akumaya/Owu Ama Pu/Bukka Bo Iwa Owuti/Toku Bie



By the way, the picture at the top of the post is apropos of nothing in particular. I just took it off the back of one of these albums and thought it was cool.

Merry Christmas!

A glorious Christmas to our readers and listeners who follow the Christian faith! To commemorate this joyous occasion I present Oliver de Coque's "Omumu Onye Nzoputa (Jesu Kristi)/Olu Ebube Nke Onye Nweayi," an account of the Christmas story from his 1983 LP of the same name (Ogene OGRLPS 03):

Oliver de Coque & his Expo '76 Ogene Sound Super of Africa - Omumu Onye Nzoputa (Jesu Kristi)/Olu Ebube Nke Onye Nweayi

This is one of my favorite de Coque songs, thanks to his eloquent guitar work and the interplay of traditional Igbo percussion. Some listeners may notice something oddly familiar about the melody, however. Take a listen to this song, by Congolese orchestra Minzoto Wella-Wella from their LP Malembé Kidiba Chant (K-Dance/Eddy'son 4219):

Minzoto Wella-Wella - Nanu Lubutu

It's obvious that somebody copied someone else. The Minzoto LP is not dated, but I suspect that it was issued sometime before the de Coque record. Oliver no doubt, then, lifted the melody and distinctive guitar work from the Minzoto record and not the other way around. But who cares? They're both great records!

Speaking of lifting, I purloined the image at the top of this post from the BBC's site. It is from a series of Christmas cards drawn by students at Swanland School in Nairobi. Follow the link and consider buying a set of the cards. Proceeds go toward rebuilding the school.

Cross River-Akwa Ibom Sounds

People seemed to enjoy the Ibibio tunes I put up in a previous post, so I thought it would be fruitful to return to the area, namely the states of Cross River and Akwa Ibom in the southeastern corner of Nigeria.

Up until 1987, when Akwa Ibom was carved out of Cross River, these two entities were one, and ethnically they share some afinities: The southern part of Cross River is majority Efik and the Ibibios predominate in Akwa Ibom. I get the impression that Efik and Ibibio are mutually intelligible, basically dialects of the same language.

As I wrote earlier, I'm not very familiar with the music of this area. Cross River did produce one native son who achieved fame across Nigeria, Inyang Henshaw, who contributed two songs to the CD Rusted Highlife Vol. 1, which I posted here. Parenthetically, the state can be said to have produced one "native daughter" who is even more famous: Welsh singer Shirley Bassey, whose father was from Calabar. He, however, abandoned her when she was two, and she has had no contact with his land of birth.

Anyway, I have gone through my slim collection of Efik and Ibibio recordings, and have come up with some pretty enjoyable tunes for your listening pleasure, the most surprising of which are two tracks from the album Idim Mmↄŋ Uwem (God's Will Records GWR 002, 1985), which you can see at the top of this post. I say surprising because the recording, by the St. John's African Church Choir in Uyo, Akwa Ibom, has sat neglected and unlistened to for at least twelve years in my collection. Some pretty big warps and scratches render most of it unplayable, but there were a couple of songs I was able to salvage.

Idim Mmↄŋ Uwem is within the tradition of African Christian devotional music. There is quite a bit of this material available in the Western market, and much of it, Missa Luba and the like, has always struck me as a bit "twee." However, there is a huge market in Nigeria for Christian music made by Africans, for Africans. The production values are often poor and the lyrics treacly, but it's heartfelt. I don't doubt that it's the biggest-selling genre of music in southeastern Nigeria:

St. John's African Church Choir, Uyo, Akwa Ibom - Utibe Enying Jesus

St. John's African Church Choir, Uyo, Akwa Ibom - Usen Oboŋ

Cross River Nationale's LP Enim Ini (Supertone TON E001, 1976), as well as being a fine collection of great dance-band highlife, features a nice map of old Cross River State. The southwestern corner, centered on Uyo, was to become Akwa Ibom:



I asked Uchenna of With Comb and Razor if he knew anything about Cross River Nationale, and he wrote:

". . . Don't know too much about them as a band, though. . . I believe the lead singer was Darlington Duke, whose name I used to hear a lot, and I've seen him either listed as a vocalist or thanked in the credits of a few other Cross River-originating records, so I guess he was something of a big man on the scene.

"[Enim Ini] was produced by Tony Essien, who went on to be a house producer at Haruna Ishola's Phonodisk Records, producing a good deal of their pop and highlife output. he was also associated, i believe, with the band Rocktown Express (though I don't know if he was actually a member)... I'm trying to figure out if he might have been associated with Wrinkars Experience too (that's just a hunch. . .)"

Cross River Nationale - Enim Ini

Cross River Nationale - Da Abasi Dian Idem

By popular demand, here are two more songs from Sunny Risky's Eti Uwem (Itiabasco ITRLP 019, 1988), and U.T. Isenem & The Black Mirrors' Obio Cross River (Anodisc ALPS 1007, 1976):

Sunny Risky - Okuk Special

U.T. Isenem & The Black Mirrors - Nkuku Mpko Yoriyo

Finally, you just can't do justice to a post on Efik-Ibibio music without including a couple of tunes by the late great Inyang Henshaw, the king of Efik music. He held sway throughout the Seventies with a series of great highlife melodies in the classic dance-band mode. These songs are taken from a 1996 compilation, Top Ten Tunes (Mossiac MMCD0921):

Chief Inyang Henshaw - Sunsuly

Chief Inyang Henshaw - Ma Ekanem