HISTORY OF NIGERIA MUSICS

                       wizkid biography

Wizkid was born on July 16, 1990 in Lagos, Nigeria. He comes from a large family and is the last of six children. In an interview with Tim Westwood, he stated that his father has three wives. Wizkid started singing at age 11; he sang in his church's choir and released a 7 track album entitled "Lil Prinz". His first song featured one of Nigeria's celebrated musical icon, OJB Jezreel.^[15] Moreover, in 2006, he collaborated with Naeto C and Ikechukwu prior to rising to stardom. In 2009, Wizkid became a household name within Nigeria's musical landscape; he was featured on M.I's "Fast Money, Fast Cars", and Kel's "Turn by Turn". Wizkid was also featured on Banky W's album, The W Experience, after getting signed to Empire Mates Entertainment.
During an interview with Factory 78 TV, Wizkid described his life in a nutshell. He said

“

It all started for me when I was eleven years old. It started in church for me. I've always been a church boy. I didn't like the choir; I never wanted to be part of the choir. Then I like rap. I called a couple of my friends then in church. It was three of us. We should come together and form a group called 'Glorious Five'. We started it then and dropped an album. After that, I met with OJB and when I met him, he allowed me come to the studio more often. I was just that kid around. I watched 2 face record Grass 2 Grace and watched Sound Sultan record Jagbajantis. I watched them record their biggest hits. For a year, I was always going to the studio but never recorded. After that time, he gave me an opportunity to record one song. He didn't allow me record because he wanted me to be better. When you have that hunger to record, you just keep getting better. When I recorded my first song, I recorded it in Surulere. I dropped it in the hood and everybody was just popping to it asking who's this guy? Most of my friends were older than I was so It was hard for me breaking into the industry. I met Naeto C when I was 15 and then I used to write and tell him Naeto, listen to this. He used to tell me 'change this, you will sound more real.' I've always been around music. Music has always been my thing. Later on, I met my manager 5 years ago. After that, things started happening. M.I came to Lagos. We met and became friends. I when to M.I's house and he told me, 'Wizzy, I have this beat', listen to it." I listened to it for 10 seconds and told him give me the mic. Before I knew it, everyone told me I love this song.[16]

”

Wizkid also told Factory 78 TV that his parents weren't receptive of his music from the onset. He said "When I started this, my father didn't want me to do this. He was against it because I am the only boy child. I had to do a lot to convince him. I was always in the studio. I was a studio rat. I was always listening to different stuff to better my music. After that time, my father had nothing to hold against me. He told me since I did well in school, I could do music. My pops is really proud of me right now and my mom has always been there."^[16]
When asked to describe his relationship with Banky W, Wizkid said "Banky W is one of the first people that has ever believed in me. The first day he met me, the way he was talking about me, I was shock. Before we started working, we were friends, I used to go to his studio. After that time, we recorded "Omoge You Too Much". I co wrote a couple of songs on his album. He was there for me as a big brother. I really appreciate that. Banky is like a big brother figure. We've never had issues. He has never raised his voice at me. I understand him already and know he doesn't like this. He loves it when I bring about new materials. When I'm going to the studio, he's very excited. He believes so much in me and I'm so happy about that."^[16]

World tours and performances

To complement the release of their album, Wizkid, Banky W, and Skales announced their 2011 Empire World Tour. The tour started on June 24 at the Lincoln Theater in Washington DC, followed by Variety Playhouse Theater in Alanta, Georgia on July 2, Auditorium at Museum of Science & Industry in Chicago, Illinois on July 9, AYVA Center in Houston, Texas on July 15, Grand Ballroom in New York on July 16, and California Theater in San Jose, California on July 23. The tour featured a live band, full stage productions, and onstage dancers. As an incentive, concert attendees who purchased advance tickets to the aforementioned tour received Wizkid's "Superstar" album as a token.^[17] Wizkid toured London in 2012 and performed at the HMV Apollo on June 4, 2012 in London, England.^[18] On November 12, 2012, Wizkid performed at the BBC 1xtra Live 02 Academy in Brixton alongside Trey Songz, Tulisa, Kendrick Lamar, and Angel.^[19]

Collaborations

Since the genesis of his career, numerous artists have featured him on their records. He was featured on M.I.'s "Fast Money, Fast Cars", Lynxxx's "Fine Lady", Iyanya's "Sexy Mama", Ice Prince's "Aboki Remix" and "Olofofo", Bracket's "Girl", R2Bees' "Slow Down", Maleek Berry's "The Matter" and "Your Love", Sarz's "Samba (Beat of Life)", Samini's "Time Bomb", Olamide's "Omo To Shan", Samklef's "Molowo Noni", 2Kriss' "Good Life", Wande Coal's "For Me", Chidinma's "Emi Ni Baller (Remix)", Flakes' "Go Down", Omawumi's "Warn Yourself", EME's "Get Down Tonight" and "Baddest Boy", elDee's "Never Let You Go", Jiron's "No Fronting", Jayru's "Familiarity", Durella's "Gaga", Yung6ix's "Follow Me", Basketmouth's "Where You Dey", and Camp Mulla's "Prices". In an interview with Ndani TV, Wizkid said he worked with Wale, and fans can expect the record to be on his upcoming album. He also hinted to working with Young Jeezy and the Game.^[20] He said he's not sure when they will release the features.

2011:Superstar

Wizkid began recording songs for his debut album, "Superstar", several months prior to the June 12, 2011 release. The album features guest appearances by Banky W, Skales, D'Prince, and Wande Coal. The album's production was handled by E-Kelly, Jay Sleek, Shizzi, DJ Klem, Sunny Nweke, Q-Beats and Samklef; the latter produced 6 tracks on the album. Following the route Nigerian musicians take when releasing albums, Wizkid hosted a concert at the Eko Hotel & Suites' Expo Hall on June 12, 2011. The concert featured Banky W, Skales, Tuface Idibia, Samklef, Wande Coal, D’Prince, Olamide, ELDee, Jesse Jagz, Ice Prince, Lynxx, and Seyi Shay.^[21]



History of Nigerian Music

The music of Nigeria includes many kinds of Folk and popular music, some of which are known worldwide. Styles of folk music are related to the multitudes of ethnic groups in the country, each with their own techniques, instruments, and songs. Little is known about the country's music history prior to European contact, although bronze carvings dating back to the 16th and 17th centuries have been found depicting musicians and their instruments.

Nigeria has been called "the heart of African music" because of its role in the development of West African highlife and palm-wine music, which fuses native rhythms with techniques imported from the Congo for the development of several popular styles that were unique to Nigeria, like apala, fuji, jùjú, highlife, and Yo-pop. Subsequently, Nigerian musicians created their own styles of United States hip hop music and Jamaican reggae. Nigeria's musical output has achieved international acclaim not only in the fields of folk and popular music, but also Western art music written by composers such as Fela Sowande.

Polyrhythms, in which two or more separate beats are played simultaneously, are a part of much of traditional African music; Nigeria is no

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exception. The African hemiola style, based on the asymmetric rhythm pattern is an important rhythmic technique throughout the continent. Nigerian music also uses ostinato rhythms, in which a rhythmic pattern is repeated despite changes in metre.

Nigeria has some of the most advanced recording studio technology in Africa, and provides robust commercial opportunities for music performers. Ronnie Graham, an historian who specialises in West Africa, has attributed the success of the Nigerian music industry to the country's culture—its "thirst for aesthetic and material success and a voracious appetite for life, love and music, [and] a huge domestic market, big enough to sustain artists who sing in regional languages and experiment with indigenous styles". However, political corruption and rampant music piracy in Nigeria has hampered the industry's growth.

HISTORY OF NIGERIA MUSICS

The 1950s, '60s and '70s
Following World War II, Nigerian music started to take on new instruments and techniques, including electric instruments imported from the United States and Europe. Rock N' roll, soul, and later funk, became very popular in Nigeria, and elements of these genres were added to jùjú by artists such as IK Dairo. Meanwhile, highlife had been slowly gaining in popularity among the Igbo people, and their unique style soon found a national audience. At the same time, apala's Haruna Ishola was becoming one of the country's biggest stars. In the early to mid 1970s, three of the biggest names in Nigerian music history were at their peak: Fela Kuti, Ebenezer Obey and King Sunny Ade, while the end of that decade saw the start of Yo-pop and Nigerian reggae.

Although popular styles such as highlife and jùjú were at the top of the Nigerian charts in the '60s, traditional music remained widespread. Traditional stars included the Hausa Dan Maraya, who was so well known that he was brought to the battlefield during the 1967 Nigerian Civil War to lift the morale of the federal troops.

Modernisation of Jùjú
Main article: Jùjú music

I.K. DairoFollowing World War II, Tunde Nightingale's s'o wa mbe style made him one of the first jùjú stars, and he introduced more Westernised pop influences to the genre. During the 1950s, recording technology grew more advanced, and the gangan talking drum, electric guitar and accordion were incorporated into jùjú. Much of this innovation was the work of IK Dairo & the Morning Star Orchestra (later IK Dairo & the Blue Spots), which formed in 1957. these performers brought jùjú from the rural poor to the urban cities of Nigeria and beyond.[18] Dairo became perhaps the biggest star of African music by the '60s, recording numerous hit songs that spread his fame to as far away as Japan. In 1963, he became the only African musician ever honoured by receiving membership of the Order of the British Empire, an order of chivalry in the United Kingdom.[8]


Dispersion of highlife

Among the Igbo people, Ghanaian highlife became popular in the early 1950s, and other guitar-band styles from Cameroon and Zaire soon followed. The Ghanaian E. T. Mensah, easily the most popular highlife performer of the 1950s, toured Igbo-land frequently, drawing huge crowds of devoted fans. Bobby Benson & His Combo was the first Nigerian highlife band to find audiences across the country. Benson was followed by Jim Lawson & the Mayor's Dance Band, who achieved national fame in the mid-'70s, ending with Lawson's death in 1976. During the same period, other highlife performers were reaching their peak. These included Rocafil Jazz and Prince Nico Mbarga, whose "Sweet Mother" was a pan-African hit that sold more than 13 million copies, more than any other African single of any kind. Mbarga used English lyrics in a style that he dubbed panko, which incorporated "sophisticated rumba guitar-phrasing into the highlife idiom".

After the civil war in the 1960s, Igbo musicians were forced out of Lagos and returned to their homeland. The result was that highlife ceased to be a major part of mainstream Nigerian music, and was thought of as being something purely associated with the Igbos of the east. Highlife's popularity slowly dwindled among the Igbos, supplanted by jùjú and fuji. However, a few performers kept the style alive, such as Yoruba singer and trumpeter Victor Olaiya (the only Nigerian to ever earn a platinum record), Stephen Osita Osadebe, Sonny Okosun, Victor Uwaifo, and Orlando "Dr. Ganja" Owoh, whose distinctive toye style fused jùjú and highlife.


Birth of fuji

Main article: Fuji music
Apala, a traditional style from Ogun state, one of yoruba state in Nigeria, became very popular in the 1960s, led by performers like Haruna Ishola, Sefiu Ayan, Kasumu Adio, and Ayinla Omowura. Ishola, who was one of Nigeria's most consistent hit makers between 1955 and his death in 1983, recorded apala songs, which alternated between slow and emotional, and swift and energetic. His lyrics were a mixture of improvised praise and passages from the Quran, as well as traditional proverbs. His work became a formative influence on the developing fuji style.

The late 1960s saw the appearance of the first fuji bands. Fuji was named after Mount Fuji in Japan, purely for the sound of the word, according to Alhaji Sikiru Ayinde Barrister. Fuji was a synthesis of apala with the "ornamented, free-rhythmic" vocals of ajisari devotional musicians and was accompanied by the sakara, a tambourine-drum, and Hawaiian guitar. Among the genre's earliest stars were Haruna Ishola and Ayinla Omowura; Ishola released numerous hits from the late '50s to the early '80s, becoming one of the country's most famous performers. Fuji grew steadily more popular between the 1960s and '70s, becoming closely associated with Islam in the process.

Fuji has been described as jùjú without guitars; ironically, Ebenezer Obey once described jùjú as mambo with guitars. However, at its roots, fuji is a mixture of Muslim traditional were music'ajisari songs with "aspects of apala percussion and vocal songs and brooding, philosophical sakara music"; of these elements, apala is the fundamental basis of fuji. The first stars of fuji were the rival bandleaders Alhaji Sikiru Ayinde Barrister and Ayinla Kollington. Alhaji Sikiru Ayinde Barrister started his fuji career in the early 1970s with the Golden Fuji Group," although he had sung Muslim songs since he was 10 years old. He first changed his group's name to "Fuji Londoners" when he came back from a trip to London, England. After a very long time — with hits such as "Orilonise," Fuji Disco/Iku Baba Obey," "Oke Agba," "Aye," and "Suuru" — he later changed the group's name to "Supreme Fuji Commanders" with a bang!, "Orelope" that went platinum instantly. Ayinde's rival was Ayinla Kollington, "Baba Alatika," known for fast tempo and dance-able brand of fuji, who also recorded hit albums like "ko bo simi lo'run mo e, in the 80s he released "ijo yoyo, Lakukulala and American megastar" to mention few of his successful albums. With all due respect Ayinla Kollington is a coherent social commentator. He was followed in the 1980s by burgeoning stars such as Wasiu Ayinde Barrister.
Ade and Obey

Ebenezer Obey formed the International Brothers in 1964, and his band soon rivalled that of IK Dairo as the biggest Nigerian group. They played a form of bluesy, guitar-based and highlife-influenced jùjú that included complex talking drum-dominated percussion elements. Obey's lyrics addressed issues that appealed to urban listeners, and incorporated Yoruba traditions and his conservative Christian faith. His rival was King Sunny Ade, who emerged in the same period, forming the Green Spots in 1966 and then achieving some major hits with the African Beats after 1974's Esu Biri Ebo Mi. Ade and Obey raced to incorporate new influences into jùjú music and to gather new fans; Hawaiian slack-key, keyboards and background vocals were among the innovations added during this rapidly changing period. Ade added strong elements of Jamaican dub music, and introduced the practice of having the guitar play the rhythm and the drums play the melody. During this period, jùjú songs changed from short pop songs to long tracks, often over 20 minutes in length. Bands increased from four performers in the original ensembles, to 10 with IK Dairo and more than 30 with Obey and Ade.

1980s and '90s

In the early 1980s, both Obey and Ade found larger audiences outside of Nigeria. In 1982, Ade was signed to Island Records, who hoped to replicate Bob Marley's success, and released Juju Music, which sold far beyond expectations in Europe and the United States.[8] Obey released Current Affairs in 1980 on Virgin Records and became a brief star in the UK, but was not able to sustain his international career as long as Ade. Ade led a brief period of international fame for jùjú, which ended in 1985 when he lost his record contract after the commercial failure of Aura (recorded with Stevie Wonder) and his band walked out in the middle of a huge Japanese tour. Ade's brush with international renown brought a lot of attention from mainstream record companies, and helped to inspire the burgeoning world music industry. By the end of the 1980s, jùjú had lost out to other styles, like Yo-pop, gospel and reggae. In the 1990s, however, fuji and jùjú remained popular, as did waka music and Nigerian reggae. At the very end of the decade, hip hop music spread to the country after being a major part of music in neighboring regions like Senegal.


Main articles: Yo-pop and Afro-juju

Two of the biggest stars of the '80s were Segun Adewale and Shina Peters, who started their careers performing in the mid-'70s with Prince Adekunle. They eventually left Adekunle and formed a brief partnership as Shina Adewale & the International Superstars before beginning solo careers. Adewale was the first of the two to gain success, when he became the most famous performer of Yo-pop.

The Yo-pop craze did not last for long, replaced by Shina Peters' Afro-juju style, which broke into the mainstream after the release of Afro-Juju Series 1 (1989). Afro-juju was a combination of Afrobeat and fuji, and it ignited such fervor among Shina's fans that the phenomenon was dubbed "Shinamania". Though he was awarded Juju Musician of the Year in 1990, Shina's follow-up, Shinamania sold respectively but was panned by critics. His success opened up the field to newcomers, however, leading to the success of Fabulous Olu Fajemirokun and Adewale Ayuba. The same period saw the rise of new styles like the funky juju pioneered by Dele Taiwo.