Dependable industry sources have confirmed to Nigeriafilms.com that
veteran Nigerian filmmaker, Amaka Igwe is dead. The respected woman was
pronounced dead in the early hours of Tuesday, April 29, 2014.From
information gathered by us, Amaka Igwe breathed her last after battling
with Asthma attack.She produced the popular comedy series, Fuji House of
Commotion and Checkmate. Amaka Igwe is survived by her husband, Charles
Igwe and children. She was aged 60.
... more
Tuesday 29 April 2014
Dependable industry sources have confirmed to Nigeriafilms.com that
veteran Nigerian filmmaker, Amaka Igwe is dead. The respected woman was
pronounced dead in the early hours of Tuesday, April 29, 2014.From
information gathered by us, Amaka Igwe breathed her last after battling
with Asthma attack.She produced the popular comedy series, Fuji House of
Commotion and Checkmate. Amaka Igwe is survived by her husband, Charles
Igwe and children. She was aged 60.
... more
Freeze calls on all Nigerians to pray against P-Square breakup+his words for LolaFreeze has called on all Nigerians to pray for them from 8am today..He also wrote an open plea to them on twitter.. Read below and start praying Click for Full Image Size
Freeze has called on all Nigerians to pray for them from 8am today..He also wrote an open plea to them on twitter..Read below and start praying
With all the news going viral about psquare breakup, it seems if the Glo
ambassadors are not careful their deal with the telecommunication will
be terminated. A source close to the telecoms operator told Vanguard
yesterday on telephone that the telecommunications giant, Globacom
Nigeria Limited may terminate the endorsement deal, which it has with
the pop twins Peter and Paul Okoye, popularly known as P-Square, since
2010, should they go ahead with the break-up.The telecoms giant entered into a contract with P-Square and not with any of the twins. “Since Glo has a contract with P-Square, and not with Peter or Paul, their breakup will definitely lead to the termination of the contract,” the source revealed
i f you are on Instagram and you happen to have the Limpopo crooner, KCee,
as one of your contacts, you might just be thinking of taking him out,
that is, if you are not the type that likes to be assailed with all
sorts of beautiful, wanton faces.The singers page on the social media
platform has been totally overtaken by display of different beautiful
faces in what he calls the hunt for Miss Fine Face. Girls, who feel they
are beautiful enough to be the singers Miss Fine Face have been
... more
Ginjah Master, cum entrepreneur, Terry G, whose real name is Amanyi Oche Gabriel, has expressed his sadness for the fact that Nigerians do not accept RnB music but prefers commercial hits.
According to Terry
G, he said that he got frustrated after releasing his first single and
he did not get wide accolades on the song, so he decided to strategies
in other to penetrate the Nigerian market.
“What gives me
inspiration is frustration. I was frustrated; I used to sing r’n’b songs
just like my fans that were following from the beginning would know. I
tried to do good music but it didn't put food on my table, so
frustration came up and frustration gave me a sign. A sign that you have
to make money through frustration. Right now I’m being termed a mad man
because I make money through madness”.
Terry G, has released a
lot of hit tracks and currently is tapping into other avenues to source
for income towards contributing to the growth of the country. He is
currently test-running his sachet water distribution and plans to
introduce his dispenser and fruit juice.
Wednesday 21 August 2013
Davido Denounces Leaked Skelewu Video
•Davido
In a statement made available to P.M.NEWS Entertainment Cafe by the pop star’s PR reps, it enjoined all to disregard the music video.
“We are using this medium to shed light on the video of Davido’s Skelewu which surfaced on the internet on the 15 October. Fans, the music community and the general public should be aware that the video uploaded to the Youtube account bearing the name “DAVID-O HKNMUSIC” is a parody account opened by a third party to release the degrading visuals,” part of the statement reads.
Davido himself has also taken to the micro-blogging site Twitter when he arrived in London from Sierra Leone to address the issue.
He tweeted: “Please disregard the leak that is not the official video…The official video is being redone. Thx …Karma ….. Just watch…Can’t believe this dude did this…U know who u are! … Then you wait till I’m on the plane lol smart move… Karma…No worries God dey.”
The pop star, who thanked fans for their continuous love and support, revealed that the Skelewu official video was shot by ace director, Moe Mussa. The video of the song which is already topping charts and breaking records across the globe is receiving finishing in the United Kingdom by Mussa will be premiered soonest.
WIZKID AWARDS TILL DATE
Released songs
This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.
 |
Indicates single release |
| Song | Artist(s) | Writer(s) | Album(s) | Year | Ref |
|---|---|---|---|---|---|
| "Aboki (Remix)" (featuring Wizkid, Sarkodie, M.I, Khuli Chana, and Mercy Johnson) |
Ice Prince | Panshak Zamani Ayodeji Balogun Michael Owusu Addo Jude Abaga Khuli Chana Mercy Johnson Okojie |
N/A | 2013 | [72] |
| "Azonto" |
Wizkid | Ayodeji Balogun | Wizkid's Upcoming Album | [73] | |
| "Baddest Boy" (EME featuring Wizkid, Skales, and Banky W) |
Wizkid Skales Banky W |
Ayodeji Balogun Raoul John Njeng-Njeng Olubankole Wellington |
Empire Mates State of Mind | 2012 | [74] |
| "Bad Girl" (featuring Wizkid) |
Jesse Jagz | Jesse Garba Abaga Ayodeji Balogun |
Jagz Nation, Vol.1. Thy Nation Come | 2013 | [75] |
| "Caro" (Starboy featuring L.A.X and Wizkid) |
L.A.X Wizkid |
L.A.X Ayodeji Balogun |
TBA | 2013 | [76] |
| "Dance" (featuring Wizkid) |
R2Bees | Rashid Mugeez Faisal Hakeem Ayodeji Balogun |
Refuse To Be Broke (Da Revolution II) | 2013 | [77] |
| "Dance for Me" |
Wizkid | Ayodeji Balogun | Empire Mates State of Mind | 2012 | [78] |
| "Don't Dull" |
Wizkid | Ayodeji Balogun | Superstar | 2011 | [79] |
| "Don't Dull Remix" (featuring Akon) |
Wizkid | Ayodeji Balogun Aliaune Damala Akon Thiam |
Wizkid's Upcoming Album | 2011 (snippet release) | [80] |
| "Drop" (featuring Wale) |
Wizkid | Ayodeji Balogun Olubowale Victor Akintimehin |
2013 | [81] | |
| "Eme Boyz" (Wizkid featuring Skales and Banky W) |
Wizkid | Ayodeji Balogun Raoul John Njeng-Njeng Olubankole Wellington |
Superstar | 2011 | [82] |
| "Emi Ni Baller (Remix)" (featuring Wizkid) |
Chidinma | Chidinma Ekile Ayodeji Balogun |
TBA | 2013 | [83] |
| "Familiarity" (featuring Wizkid) |
Jayru | Abiodun Inneh Ayodeji Balogun |
TBA | 2011 | [64] |
| "Fast Money, Fast Cars" (featuring Wizkid) |
M.I | Jude Abaga Ayodeji Balogun |
Talk About It | 2008 | [49] |
| "Fine Lady" (featuring Wizkid) |
Lynxxx | Chukie Edozien Ayodeji Balogun |
Jollof Music | 2012 | [84] |
| "Follow Me" (featuring Wizkid) |
Yung 6ix | Onome Onokokwomo Ayodeji Balogun |
Green Light Green | 2011 | [85] |
| "For Me" (Wizkid featuring Wande Coal) |
Wizkid | Ayodeji Balogun Oluwatobi Wande Ojosipe |
Superstar | [82] | |
| "Gaga" (featuring Wizkid) |
Durella | Oluwadamilare Kulaja Ayodeji Balogun |
TBA | [65] | |
| "Get Down Tonight" (EME featuring Wizkid, Skales, and Banky W) |
Wizkid Skales Banky W |
Ayodeji Balogun Raoul John Njeng-Njeng Olubankole Wellington |
Empire Mates State of Mind | 2012 | [86] |
| "Gidi Girl" | Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "Girl" (featuring Wizkid) |
Bracket | Nwachukwu Ozioko (Vast) Ali Obumneme (Smash) Ayodeji Balogun |
Cupid Stories | 2012 | [87] |
| "Go Down" (featuring Wizkid) |
Flakes | Chukwuebuka Joseph Egeonu Kenechukwu Ayodeji Balogun |
TBA | 2013 | [58] |
| "Good Life" (featuring Wizkid and Ice Prince) |
2Kriss | 2Kriss Ayodeji Balogun Panshak Zamani |
Big Boyz All Stars | 2011 | [56] |
| "Holla at Your Boy" |
Wizkid | Ayodeji Balogun | Superstar | 2010 | [88] |
| "Intoxicated" (featuring Wizkid) |
Jesse Jagz | Jesse Garba Abaga Ayodeji Balogun |
Jag Of All Tradez | 2011 | [89] |
| "Jaiye Jaiye" (featuring Femi Kuti) |
Wizkid | Ayodeji Balogun | Wizkid's Upcoming Album | 2013 | [90] |
| "Jonzing World" (featuring Jesse Jagz & Wizkid) |
D'Prince | Charles Enebeli Jesse Garba Abaga Ayodeji Balogun |
D'Prince Is Here | 2010 | [91] |
| "Lagos Party Remix" (featuring Wizkid, D'banj Naeto C, ELDee, Muna, 9ice) |
Banky W. | Olubankole Wellington Ayodeji Balogun Naetochukwu Chikwe Lanre Dabiri Munachi Gail Teresa Abii Nwankwo Abolore Akande |
The W Experience | 2009 | [92] |
| "Let's Get This Party Started" (featuring Wizkid, Tuface Idibia, D'banj, Tiwa Savage & M.I) |
Wizkid Tuface Idibia D'banj Tiwa Savage M.I |
Ayodeji Balogun Innocent Ujah Idibia Dapo Daniel Oyebanjo Tiwatope Savage Jude Abaga |
TBA | 2012 | [93] |
| "Lagos to Soweto" | Wizkid | Ayodeji Balogun | Wizkid's Upcoming Album | 2013 | [94] |
| "Love My Baby" |
Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "Love You" (featuring Wizkid) |
Maleek Berry | Ayodeji Balogun | TBA | 2013 | [95] |
| "Molowo Noni" (featuring Wizkid) |
Samklef | Ayodeji Balogun Samuel Oguachuba |
Nonilizing | 2011 | [96] |
| "Never Let You Go" (featuring Wizkid) |
ELDee | Lanre Dabiri Ayodeji Balogun |
Undeniable | 2012 | [97] |
| "New Bounce" (featuring Wizkid and Phenom) |
Maleek Berry | Ayodeji Balogun Phenom |
TBA | 2013 | [98] |
| "No Fronting" (featuring Wizkid) |
Jiron | Ayodeji Balogun Jiron |
TBA | 2012 | [99] |
| "No Lele" | Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "No More Sleeping On 'Em" (featuring Wizkid) |
D'Prince | Charles Enebeli Ayodeji Balogun |
Frenzy | 2012 | [100] |
| "Olofofo" (featuring Wizkid) |
Ice Prince | Panshak Zamani Ayodeji Balogun |
Everybody Loves Ice Prince | 2011 | [101] |
| "Oluwa Lo Ni" |
Wizkid | Ayodeji Balogun | Superstar | 2012 | [88] |
| "Omo To Shan" (featuring Wizkid) |
Olamide | Olamide Adedeji Ayodeji Balogun |
Rapsodi | 2011 | [102] |
| "Pakurumo" |
Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "Prices" (featuring Wizkid) |
Camp Mulla | Matthew Wakhungu (Taio Tripper) Benoit Kanema (Shappa Man) Karungari Mungai (Miss Karun) Marcus Kibukosya (K'Cous) Ayodeji Balogun |
Funky Town | 2012 | [69] |
| "Pullover" (featuring Wizkid) |
Kcee | Kingsley Okonkwo Ayodeji Balogun |
TBA | 2013 | [103] |
| "Samba (Beat of Life)" (featuring Wizkid) |
Osaretin Osabuohien (Sarz) | Ayodeji Balogun | TBA | 2012 | [104] |
| "Say My Name" | Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "Scatter The Floor" | Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "Sexy Mama" (featuring Wizkid) |
Iyanya | Iyanya Mbuk Ayodeji Balogun |
Iyanya vs. Desire | 2013 | [105] |
| "Shout Out" | Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "Slow Down" (featuring Wizkid) |
R2Bees | Rashid Mugeez Faisal Hakeem Ayodeji Balogun |
Refuse To Be Broke (Da Revolution II) | 2013 | [77] |
| "Slow Whine" (featuring Banky W) |
Wizkid | Ayodeji Balogun Olubankole Wellington |
Superstar | 2011 | [82] |
| "Talk" | Wizkid | Ayodeji Balogun | Wizkid's Upcoming Album | 2013 | [106] |
| "Tease Me/Bad Guys" |
Wizkid | Ayodeji Balogun | Superstar | 2011 | [82] |
| "The Matter" (featuring Wizkid) |
Maleek Berry | Ayodeji Balogun | TBA | 2013 | [107] |
| "Time Bomb" (featuring Wizkid) |
Samini | Emmanuel Andrews Samini Ayodeji Balogun |
TBA | 2012 | [53] |
| "Turn By Turn" (featuring Wizkid) |
Kel | Kelechi Ohia Ayodeji Balogun |
The Investment | 2009 | [108] |
| "Wad Up" (featuring D'Prince) |
Wizkid | Ayodeji Balogun Charles Enebeli |
Superstar | 2011 | [82] |
| "Warn Yourself" (featuring Wizkid) |
Omawumi | Omawumi Megbele Ayodeji Balogun |
Lasso of Truth | 2013 | [109] |
| "What You Wanna Do?" | Wizkid | Ayodeji Balogun Charles Enebeli |
Superstar | 2011 | [82] |
| "Where You Dey" (featuring ELDee and Wizkid) |
Basketmouth | Lanre Dabiri Ayodeji Balogun |
TBA | 2012 | [67] |
| "Wiz Party (Bonus Freestyle Leak)" | Wizkid | Ayodeji Balogun Charles Enebeli |
Superstar | 2011 | [82] |
Nothing seems to last for too long in this fast paced world where change has been said to be the only constant thing. Sadly though, changes of certain kinds are upsetting on the people involved and even observers of the ensuing drama. This brings us to the issue of popular music groups/collaborations “breaking up”.
We bring to you today a countdown of the top ten notable breakups in the Nigerian Music Industry climaxing with the most recent- that of everyone’s beloved Mo’hits crew.
10
Remedies- Comprising of the talented trio of rapper cum singer Eedris Abdulkareem, Tony Tetuila and Eddy Remedy, this was one of the groups that defined the style now known as “Naija Hip Hop”. The Remedies was formed in 1997 and hit songs like “shakamo” and “omoge” endeared them to millions of people all over West Africa. The group split up in 1999 when the henchman of the crew, Eedris Abdulkareem decided to launch a solo career.
Eedris Abdulkareem’s solo career started off to a glistening start with the release of 3 successful albums with the Kennis Music label imprint between 2002 and 2004. His fortunes however took a downturn in 2004 after a fracas with the American rapper 50 cent. His subsequent album “King is Back” was released on his La Crème record label and he is still has a visible presence on the naija music scene.
Tony Tetuila also did very well on his own with smash hit songs like “omode meta”, I’m in love with 2 women” and “my car” which became a street sensation. He has 5 albums to date.
The third member of the group Eddy Remedy was unfortunately not able to kick-start a successful solo career. He has an album “Leave Eddy Alone” to his credit.
9
Plantashun Boyz- This defunct group of 3 comprising of 2face, Faze and BlackFace needs no introduction, especially as one of them- 2face- has gone on to become a legend of African contemporary music. They released two albums, Body and Soul(2000) and Sold Out(2003) before going their separate ways in 2004.
2face has since gone on to release 4 multiple award winning albums (Face 2 Face (2004), Grass 2 Grace (2006), The Unstoppable (2008) and The Unstoppable International Edition in 2010, bag numerous prestigious awards and nominations and become an Icon of Nigerian and African Music all over the world.
Faze has released three albums since- Faze Alone (2004), “Independent” which spawned several hit singles in 2006 and Originality (2008).
BlackFace has only one album to his credit. He also co-wrote 2face’s breakthrough single- African queen.
The Plantashun Boyz collaborated on a reunion album titled “Plan B” in 2007.
8
Maintain- The trio of Olu, Tolu and Bamo came to national prominence on the back of hit songs like “I catch cold” and “Nibo la wa gbe lo”. After six albums between 1998 and 2004, the group split up after the exit of Olu in 2005.
Olu Maintain went on to release two albums- “Yahooze/Maintain Reloaded” a successful effort which spawned the mega hit single, “Yahooze” and Kentro World(2009).
Big Bamo released a well-received album “popotiti” but since seems to have taken a leave from recording music.
Except from occasionally featuring in a few songs Tolu has not had a significant solo career since the breakup of Maintain.
7
Eedris Abdulkareem and Kennis Music- The then number one Naija artiste parted ways with the premier record label after the 2004 scuffle between Eedris and 50 cent and it marked a significant change in the artiste’s career. The artiste released his fourth album on his own La Crème imprint but has subsequently signed back with Kennis Music.
6
2face and Kennis Music- After a mutually beneficial relationship that gave birth to 2 award winning albums, 2face left Kennis Music without much ado in 2008. He has his own record label- Hypertek Entertainment.
5
Kelly Handsome and…. You Know Already J- Kelly Handsome came to national prominence with the release of his chart topping hit single Maga in 2007. “Mr. Maga” left Kennis Music amidst a lot of controversy in 2010 and he has even been said to swear that he will never forgive Kenny Ogungbe and Dayo Adeneye, the Kennis Music top men although he later tendered an apology. He released only one album (Too much money in 2008) on the Kennis records imprint.
4
9ice and Id Cabasa- Not too long after the release of platinum selling album “Gongo Aso” in 2007, 9ice and longtime friend and producer Id Cabasa fell out due to settlement and payment issues. “Basorun Gaa” does not seems to have been slowed down by this as he has within a short while built up his own record label, released 3 successful albums and has even signed a few upcoming acts as well.
The singer and ace producer seems to be back on good terms of recent and it will be interesting to see if they will still work together in the studio.
3
KC Presh- The flashy duo of KC and Presh won the first edition of Star’s yearly musical contest, Star Quest in 2002. They went on to release 5 albums before going their separate ways in 2011.
2
Mo’Cheddah and Knighthouse- It caught us all by surprise when we heard a few weeks ago that Mo”Cheddah was leaving the record label which had brought her to limelight after just 1 album which had given her recognition all over the continent. Mo’Cheddah is yet to announce her new plans as regards a management deal or recording contract.
1
Mo’Hits Records- Perhaps this should be titled D’Banj and Don Jazzy as the long term friends and associates have apparently made yet to be clearly announced changes in the structure of their record label. D’banj has 3 solo albums(No Long Thing(2005), Rundown/Funk U up(2006) and Entertainer in 2008). He also has 1 collaboration album with the other Mo’Hits artistes.
Thursday 8 December 2011
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
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]
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.
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] | ” |
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.
Wednesday 7 December 2011
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.
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.
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