nigeriaspecial

ONLINE ARTICLES AND REVIEWS
People just can't stop writing about the Nigeria Special Series

"an aural and design classic” *****
If the promise of such names as the Nigerian Police Force Band or Dan Satch & His Atomic 8 Dance Band Of Aba doesn’t intrigue, the music on this CD soon will.  From a British label excelling in resurrecting rare Latin and Afro recordings from the ‘70’s, this spectacular compilation of Nigerian highlife, funky breaks & fuzz-rock isn’t their first exposé of the country’s crumbling vinyl.  But it’s arguably their best.  Not a definitive portrait, this is a somewhat arbitrary musical snapshot of a glorious era - and it’s all the richer for it.  Of particular note are a number of elegiac, bluesy beauties that slow the pace to a languid crawl.  Like the label’s other releases, the packaging & booklet are immaculate. Nigeria Special is an aural and design classic.

   "rare and exhilarating treasures"

Even to World Music dilettantes the 1970s represent a high water mark for West African pop. Fusing supple home-turf rhythms with free jazz, funk and soul, Nigeria’s reputation within this field has been sealed primarily by the innovations of saxophonist, bandleader and political agitator Fela Kuti. While certain tracks, including “Business Before Pleasure” by George Akaeza & His Augmented Hits, are indeed heavily indebted to the godfather of Afrobeat, this compilation, curated by British DJ and globe-trotting record collector Miles Cleret, places primacy on a number of lesser acclaimed, and now almost forgotten branches of the country’s musical output: few of the names, The Nigerian Police Force Band, for example, will be familiar.  Luckily this doesn’t stop the sounds from shining. While Kuti ruled Yoruba-speaking Lagos, highlife, more commonly Lagos, highlife, more commonly associated with neighbouring Ghana but also popular for many years in Nigeria, held on strong in the nation’s tribal provinces. Tracks including Celestine Ukwu’s “Okwukwe Na Nchekwube” and Opotopo’s “Belema” illustrate this point perfectly. But other influences are at play, too, especially those of North American blues and psych rock. As such, this collection casts a welcome light on a number of rare and exhilarating treasures. For the blistering guitar work of The Hykkers’ “I Want A Break Thru” alone, it’s fortunate that someone has taken time to resurrect them.  

“yields more with each listen” ****

This latest release from Soundway shows their usual care, attention and commitment to making available previously little known vinyl gems, beyond the vaults of hardcore collectors.  Great packaging and detailed notes accompany a selection, that perhaps lacks a central ‘theme’, but does what it says on the tin which is to feature long forgotten bands from one of Nigeria’s most creative eras. Highlife, with it’s jazzy horns and elongated grooves, is the prominent genre, and this double CD also showcases groups that combine afro-beat and funk tinges to fit into the aforementioned’s meandering format. It also purposely looks away from Lagos, toward the east of country.  From there comes one of the album’s highlights, the sublime ‘Okwukwe Na Nchekwube’ by Celestine Ukwu.  Dreamy guitar phrases are punctuated by a muted trumpet, as Ukwu sings a song of optimism and hope. Elsewhere comes the rough blues of The Hykkers’ ‘I Want A Break Thru’, the spacey funk of ‘Akula Owu Onyeara’ by the Funkees, (replete with what sounds like an analogue synth bassline) and the Fuji vibes of Dele Ojo on ‘Oja Omaba’.  Not intentionally definitive by any means, better known artists such as The Oriental Brothers are overlooked in favour of the likes of Easy Kabaka Brown and Godwin Ezike, whose rolling ‘Torri Wowo’ could light up any dancefloor. A deep selection that yields more with each listen, this is recommended for aficionados and passing fans alike.